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THE 



Sign Painters Guide, 



OR, 



HINTS AND HELPS 



TO 



SIGN painting, glass GILDING, PEARL WORK, ETC. 



CONTAINING ALSO 



MANY VALUABLE RECEIPTS AND METHODS, AND MUCH 

GENERAL INFORMATION IN THE VARIOUS 

BRANCHES OP THE BUSINESS. 




JAMES T. GAEDINEE 



SIGN PAINTER. 



CINCINNATI: 

PUBLISHED BY THE AUTHOR. 
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INTKODUCTORY. 



In answer to numerous inquiries and applications 
for information and instruction in Sign Painting and 
its Ornamental branches I have been induced to pub- 
lish this little work, which I now offer to the trade, 
and to those interested in this Toeautiful art, confident 
that its reliability and accuracy will insure it a hearty 
welcome and recommendation from every Painter into 
whose hands it may come. 

That the work is small is no detriment to its practi- 
cal value. Many of the receipts and methods it con- 
tains are very valuable ; the writer paid fifty dollars 
a few years ago for two of them, and many of the 
others could not be purchased at the present time for 
twice the price asked for this work. 

Perfection is not claimed for this more than for any 
other work of the kind, but what is claimed for it is 
that it contains more real practical and valuable in- 
formation to the Sign Painter than has ever before 
been presented to him in a j)ublished form. 

Much of my time of late years has been occupied in 
giving instructions in the various departments of Sign 
Painting. For a course of such instructions I have 
received from $25 to $50, according to facilities offered. 



4 INTRODUCTORY. 

There are many who would, but, from various rea- 
sons, are unable to avail themselves of this mode of 
gaining knowledge. My object is to place before every 
one who may desire it, no matter where located, the 
same advantages at a much less cost. 

Eemember I do not profess to manufacture ready- 
made Sign Painters. Much study and practice alone 
will accomplish that. But I do profess to be able to 
materially help those who are inclined to help them- 
selves. 

It is an old maxim, and none the less a true one, 
that, -'What is worth doing at all, is worth doing 
well," and I would like in the outset to impress this 
important fact upon the mind of every aspirant to 
fame in this direction, "If you would be a Sign 
Painter, be a good one." 

And your first step toward this accomplishment 
will be to secure a good master, or what is tlje same 
thing, the works of a good master as your guide. 

There are several of these to be had, but McLee's 
Alphabets are now accepted and recognized by all as 
the most perfect in form and symmetry, and the best 
adapted in every respect to the requirements of mod- 
ern Sign Painting. 

As much practice is essentially and absolutely ne- 
cessary to the formation of a perfect letter, the pupil 
consequently loses or spends unprofitably a great 
deal of his time in this way. This I have found to be 
a great drawback to progress, as gain is with most of 



INTKODUCTORY. 5 

us a great incentive to duty. I have, however, reme- 
died this by the introduction of the Traceotype, or 
card-board letter, which, as well as affording excellent 
practice, enables the beginner to make his work pay 
him from the start. They comprise alphabets of al- 
the modern styles of letters in use by Sign Painters, 
cut out of tar board in sizes varying from two to 
twelve inches or larger, when ordered. They are all 
ways convenient, and a Sign of any number of lines 
may be laid out, spaced, and the letters perfectly 
traced, ready for the brush in a few minutes time, 
when hours would be required to accomplish the same 
by the ordinary method. 

They are being received with much favor by many 
of our expert Painters who speak very highly of their 
time and labor-saving qualities. 

My thanks are due to those of my fellow craftsmen 
who have aided and encouraged me, and for the favor- 
able opinions entertained by them of my efforts in 
the past to advance and improve the beautiful art to 
w^hich I have been so long and so ardently attached. 

J. T. G. 



THE 



Sign Painter's Guide. 



RULES FOR MAKING AND SPACING LETTERS. 

The letters most used b}" Sign Painters are Eoman, 
Italic, round and square Block, half Block, or Egyp- 
tian, Lower Case and Script. 

Konian is the general favorite with letterers. It is 
also the most difficult to make. Egyptian is the sim- 
plest and easiest made, and is therefore generally 
chosen by beginners. 

Nine ot the Eoman letters, viz., B,D, E, G, O, P, Q, 
E and T, when proj^erly made, will occupy one-eighth 
more in width than in height. Six letters, viz., C, F, 
J, L, S and Z, will occupy the same space from left to 
right as they do in height. Seven letters, viz.. A, K, 
N, U, Y, X and Y, one-sixteenth more in width than 
in height. H, one-fourth; M, one-third, and W, one- 
half more in width than height. I, two-thirds of its 
height in width, and & occupies one-sixteenth less in 
width than in height. 

The circular letters, C, G-, O, Q and S, to appear equal 
in size with the rest, must be made to project a little 
above and below the line. 

The upper part of B, E, F and E should occupy a 
trifle less sj)ace on the main line of each letter than 



8 THE SIGN PAINTER'S GUIDE. 

the lower part, and the upper horizontal projecting 
curve of B and R should, in the same jjroportion, be a 
trifle the smallest. The connecting bar of H, and the 
center bar of E and F, should be a ver^- little above the 
center of those letters. The jDcrpendicular width of 
the curve for P should take up just half the length of 
the main limb of that letter. The bottom curve of J, 
with the projecting line on its top, should occupy the 
same space as the letters C or S. The upper curve of 
S should be smaller than the lower curve. The tail of 
the R should be made full, and to project nearly as far 
as the upper curve. The last limb of G should ter- 
minate at a little less than half its height. The upper 
portion of the Y should join the main body of the let- 
ter at half its height, and the lower curve of C should 
project a trifle beyond the upper one. 

The width of the main body of a Eoman'Jetter must 
be regulated by its size. For a six inch letter the 
main stroke should be one inch and a-half wide, the 
fine stroke, or hair line, one-fourth inch. For a letter 
one foot in height it should be three inches, and the 
hair stroke one-half inch wide. And in the same pro- 
portion for larger or smaller letters. 

The upper point of A and the lower points of Y and 
"VY should be of the same width as the fine, or hair 
line. 

If two lines are drawn one inch apart, and divided 
into nine compartments one inch and one-eighth each, 
the letters B, D, E, G, O, P, Q, R and T will each fill 
a compartment; then divide off six compartments of 
one inch square for C, F, J, L, S and Z; then seven 
compartments of one inch and one-sixteenth each for 
A, K, ]Sr, U, Y, X and Y. For H allow one inch and 
a quarter, for M one inch and three-eighths, for W one 
inch and a half I will take a space five-eighths of an 
inch wide, w4iilc & will require one-sixteenth less than 
an inch in width. 



THE SIGN PAINTER'S GUIDE. 



LOWER CASE EOMAK 

This is a very popular letter with Sign Painters, 
and when properly formed, for grace and beauty, is 
only equalled by its near ally, the Roman Capitals. 

The main body of thirteen letters, viz : A, B, D, Gr, H, 
K, N, P, Q, U, y, X and Y, will occupy a square each ; 
letters C, E, O. R, S, T and Z, require one-sixteenth less 
width than height; I and 1, one-half their height in 
width. These relative proportions are stated without 
their projecting limbs above and below the main body 
of the letter, which projection should be one half the 
height of the main body of the letter. 

ITALIC CAPITALS. 

These have all the forms and peculiarities of the 
Roman Capitals, slightly condensed, and at an angle 
of sixty -three degrees. 

LOWER CASE ITALIC. 

This letter is rarely introduced in sign painting, but 
is the prevailing style in show card writini^;, or wher- 
ever quick, off-hand lettering is required. 

There is no regular rule governing these letters ; if 
gracefully formed, a little crowding does not injure 
their appearance ; there are many opportunities where 
they may be worked in advantageously and with good 
effect in sign work. 

BLOCK LETTERS. 

This is the boldest and most massive of all the styles 
of letters, and is governed by the same rules and pro- 
portions in regard to height and breadth as the Roman 
Capitals ; unlike that letter, however, it mav be elon- 

2a 



10 THE SIGN PAINTERS GUIDE. 

gated or condensed to a very great extent without in- 
jury to its appearance. 

The perpendicular and horizontal bars of this letter 
are the same in size throughout. 

By dispensing with curves and using straight lines, 
and cutting the outside corners off diagonally, we have 
the Square Block, which is much better adapted to the 
purpose of elongation or enlargment than the round. 
The corners should be cut off to the extent of four- 
fifths of the thickness of the main body of the letter ; 
the inside corners may be either rounded or squared. 

Next in order is the 

EGYPTIAIS", OE HALF-BLOCK. 

These useful letters may be denominated the Paint- 
er's stand-by or substitute for all the letters, for when 
other styles fail for want of necessary space or other 
significant reasons, these will always be found to fill 
the bill exactly. When properly proportioned, they 
are inferior to none for beauty, but as substitutes they 
may be tortured and tormented with impunity into fill- 
ing every conceivable space, but crowded and cramped 
as they often are, they fill every position assigned them 
with becoming dignity. 

Their form and construction as well as their propor- 
tion, will be ascertained by drawing two parallel lines 
one inch apart, and two within these at three- sixteenths 
of an inch distance from the others for the horizontal 
bars of the letter. If five compartments of seven - 
eighths of an inch each are divided off, the letters ^, 
p, 1^, O, and Q, will each fill a compartment, then 
divide off ten more three-fourths of an inch wide for 
B, C, C, R. S, V, X, Y, Z and &; then three of 
five-sixteenths less than an inch in width, for |-|, p, 
and U ; three of five-eighths wide for Ej N' ^"^ T J 
HH requires a space one-sixteenth less than one inch in 
width ; ^, a space one inch and one-eighth ; p, L, 



THE SIGN PAINTER'S GUIDE. 11 

and J, require a space nine-sixteenths in width, and 
I a space three-sixteenths of its height in width. 

Like the Block, this stjdc of letter made either round 
or square. The body of the letter must invariably be 
of the same size all over. 

The Traceotypes afford the best possible advanta- 
ges for the study of all these letters, and will there- 
fore be found a valuable adjunct to this work. 

SCEIPT. 

This style of letter makes a beautiful sign but it is 
very difficult of execution. Some few sign writers make 
a speciality of it ; but generally speaking, there is not 
enough of it done, even in our large cities, to afford 
painters practice sufficient to attain any degree of per- 
fection. 

Good penmanship is not essentially necessary in or- 
der to become a good Script writer. Some of our best 
are very inferior penmen. Writing on a sign-board 
is a very different process from writing on paper. It 
is necessary, however, to have a pretty correct idea of 
penmanship, and a good round text coj)y for your 
guide. 

The "Line of Beauty," so termed by an eminent 
artist, is formed of two gentle curves, and that line 
occurs twenty-nine times in forming twenty Script 

Capitals ; it is the first line ^ • the middle of Q^ 

^ ^ ; last of ^; first part of (^ ^and /• two 

parts of QQy • part of ^L^y three parts of OM • two of 

^ ^ part of or J m^ Sfj ^ ; two parts of ^ • four 

parts of W; last of ^; and middle of %. 

A little time judiciously devoted in examining this 
as a general principle — which is the most important 



12 THE SIGN PAINTER'S GUIDE. 

part of twenty out of the twenty-six capital letters — 
and by practice in making this one line gracefully 
will rapidly contribute to a correct formation of the 
capital letters. The letters in which the " Line of 

Beauty" is not introduced are (q (q ^ and (^. 

In writing Capital Script, all the lines drawn to- 
wards the writer are to be gradually swelled and full 
lines, and all lines from the writer, are to be hair lines ; 
and the curves of the capitals should be evenly true 
in their oval shape, and sloped to the same angle with 
the main body of the letter, that being 48 degrees. 

The loop to be formed in making the first part of 

the letters (g ^ X ^ and ©/ should be an equal 

curve on each side of the loop, which can easily be 
tested by drawing a straight line from the centre of 
its toj) curve to its union at the main body of the let- 
ter. If the curves and distances are not equal on both 
sides of the said straight line, they should be made so, 
to be correct and graceful. 

The small or round text letters should be in the pro- 
portion of three-eighths of the size of the capitals, 
uniform angles and delicate hair lines being essential 
to their beauty and gracefulness. 

SPACING. 

There is no rule in Sign Painting to designate the 
exact distance betw^een the letters forming a word or 
sentence. It is equally in bad taste, however, to crowd 
them too closely or to separate them too much. 

In cities where painters are paid by the foot for let- 
tering, many good jobs are spoiled by being spread too 
much, in order to measure a few feet more. This, I 
suppose, may be called one of the tricks of the trade. 
It is one, however, that does not reflect much credit 
on the workman. 



THE SIGN PAINTEK'S GUIDE. 13 

The distance between letters must depend in a great 
measure upon tlie length of the word and the space it 
is to occupy. The following rules will be fonud to 
work well in regulating the spaces between Eoman, 
Block or Egyptian Capitals. Take, for example, the 
word ABILITY. We will suppose the letters are 
each solid blocks of their own size, and six inches in 
hight. We will also have a few blocks of one-quarter, 
and a few of one-half inch in thickness, to insert be- 
tween the letters as we proceed. 

By placing the letters A and B together we find 
that, in consequence of the pyramidical form of A, 
they are connected at the bottom, while there is a 
great deal of open space between them at the top, 
which seems to separate the letters sufficiently, but as 
they must not be connected anywhere we will be com- 
pelled to insert the smallest or one-quarter inch block 
between them.' 

The next letter is I, which must have a proportion- 
ate distance between it and B as between B and A. 
To accomplish this we will have to insert three of the 
one-half inch and one of the one-quarter inch blocks. 

Between I and L it will be necessary, in order to 
keep up the same proportionate distance, to insert 
three one-half inch blocks; and in consequence of the 
large open space caused by the projecting lower limb 
of L, the second I must only be separated from that 
letter b}^ the smallest or one-quarter inch block. 

T is next in order, and will be separated from I by 
three one quarter inch blocks. The last letter, Y, 
when placed alongside of T, appears already suffi- 
ciently separated, but as the connection at the upper 
corner must be broken, we will again insert only the 
smallest or one -quarter inch block. 

The word is now properly spaced, but may be ex- 
tended at will by increasing the distance equally 
between each letter; or, suppose it is desirat)le to 
extend the word three inches, to do so it will be ne- 



14 THE SIGN PAINTEK'S GUIDE. 

cessary to insert another one-half inch block between 
each of the letters. 

Another method of spacing is to make the center of 
the letters the point from which to regulate the dis- 
tances between them. For this we must draw a center 
line, that is, a line parallel with and at equal distance 
from the extreme outside lines. 

Between all letters having crossbars at the top and 
bottom the distance must be the same, as in HID, but 
if another letter of the same kind follows, as HIDD, 
the distance will have to be reduced two-fifths, on 
account of the absence of the upper and lower bar on 
that side of D. With the next letter following, 
HIDDE, the same distance will be repeated, while the 
last letter, N, in HIDDEN, will be one-fifth nearer 
still to the extreme limits of E, to counterbalance the 
open space formed by the projecting upper and lower 
limbs of that letter. 

These rules will be of great service to the beginner, 
but to the practiced eye all rules are superfluous. It 
detects at a glance every imperfection ; untiring per- 
severance is indispensable to the attainment of it, but 
all who desire it can and may possess it. 

WALL LETTERING. 

There are places and occasions, however, where 
even the critical eye of the expert will be somewhat 
at a loss. On the high blank walls which are, in our 
larger cities, often appropriated to signs, sometimes 
from fifty to one hundred feet in length, or more, and 
when an ordinary staging will not reach more than 
one-fourth that distance, the eye, in such close prox- 
imity, can take in but a very small proportion of the 
work to be done. 

It is necessary in such cases to adopt some mode of 
laying out the work correctly, without going over it 
twice, as is ordinarily the case, saving thereby much 
time and labor in moving and adjusting staging, etc. 



THE SIGN PAINTER'S GUIDE. 15 

In doing similar work I have adopted the following 
rule, and have invariably found it a good one, and 
would therefore recommend it to all wall letterers : 

Take the dimensions of the sign or space to be occu- 
pied by the sign, its length, width, and the number of 
lines into which it is to be divided. Mark off a similar 
space on paper on a scale of one inch to the foot, then 
lay out your lettering as you wish it to appear on the 
wall. When the sketch is complete, with your di- 
viders and rule you can readily find the real dimen- 
sions of the letters, spaces, etc., marking them off as 
you go, in their respective places, in feet and inches. 

If the sign is very large this sometimes necessitates 
several sheets of paper, but a reduced copy may be 
made for reference when at work, care being taken to 
preserve the measurements correct. 

With this sketch and table of measurements you 
have the whole thing, as it were, in a nutshell. Yon 
may begin at either end of the work, carry along any 
number of lines, and by adhering strictly to your 
chart can not possibly commit an error. 

For work of this kind the letterer will find a small 
pocket plumb line of great service in preserving the 
perpendicujar form of the letter, which is sometimes 
very difficult to do when they are very large. 

TO LAY OUT A SIGN CORRECTLY. 

Much of the beauty of a Sign depends upon the 
variety of the letters introduced, and their arrange- 
ment into lines. 

A very inferior job of lettering, if well arranged, 
will look infinitely better than a good job poorly ar- 
ranged. 

As a general thing a repetition of the same letter on 
two succeeding lines should be avoided. Nor should 
two lines following ea(;h other be precisely of the same 
length. When a sign is composed of a great many 



16 THE SIGN PAINTEK'S GUIDE. 

lines, curved or scroll lines maybe used to advantage, 
but they should be thrown in gracefully and sparing- 
ly, or instead of beautifying they will mar the general 
design. 

For a sign of but one line any style of letter may 
be used, always allowing an ample margin of at least 
two and a half or three inches around the board. 
Without this no sign will look well. 

For a sign of two lines, the upper one in Eoman 
and the lower in round or square Block, would bo in 
good taste, being careful not to crowd the lines too 
closely, allowing about the same room between them 
as in the margin. 

When the lines are numerous it is customary to lay 
out the upper one in the form of a half circle, arrang- 
ing the rest into half, three-quarter and full lines, with 
an occasional curve or scroll line. 

When the line consists of but one word, as, for in- 
stance, AND, or the capital, &, the space allowed must 
not be more than one-half what it is between the other 
lines, or the matter will appear too open or scattered. 

The size of the letters used must depend upon the 
importance attached to the various words and sen- 
tences. Lines to which special prominence is to be 
given should always be in capitals as large as the 
number of letters and the space they are to occupy 
will admit. Lines of medium importance, in Egyptian 
or lower case. Avoid profuse flourishing; it often de- 
tracts from good work. Flourishes, if there are any, 
should be few, and very gracefully put in. 

Chalk crayons should be used for laying out letters. 
The outlines may be traced previous to painting with 
black crayon or black lead pencil, and the chalk marks 
erased, or they will offer an obstruction to the free 
passage of the sable or camel hair brush over the sur- 
face. • 



THE SIGN PAINTEE'S GUIDE. 17 



COLORING AND SHADING. 

There is scarcely any limit in the variety of colors 
that may be used in Sign Painting. Much, however, 
depends upon making a proj^er selection. That they 
are too often put on with an utter disregard of all the 
rules of harmony and good taste none will dispute. 

Black and white are the most common of all colors, 
if colors they may be called. Some, I believe, pretend 
to dispute that fact. I shall not attempt to argue it 
here. To all intents and purposes they are colors, and 
very important ones. 

A black letter on a white ground, and a white letter 
on a black ground, are perhaps as often introduced as 
any other. For both, a white ground work is neces- 
sary, the difference being that while in the former the 
black letter is painted on the surface of the white, in 
the latter the letter is marked out, then traced around, 
or is what the Sign Painter calls cut in, and the ground 
work filled in with black. By this mode a much whiter 
letter is obtained than would be were the white letter 
painted upon a black surface^ even if tw^o coats were 
applied. 

Cutting in has. for this reason, been very generally 
adopted hy modern Sign Painters, in all cases where 
the color of the letter is lighter than the ground work. 
To the uninitiated it may appear somewhat of a back 
handed process, but after sufficient practice it becomes 
the preferable, and also the most speedy mode of 
work. 

Green, blue, vermillion, Indian red and black are 
the colors principally used for cutting in. 

The color of the letter or ground work of the sign 
previous to being cut in may be of white or of an}^ de- 
sired tint. An imitation gold color is a very i3opular 
tint, and may be used in connection with any of the 
aforementioned colors with good effect. 



18 THE SIGN PAINTER'S GUIDE. 

When two or more colors are used in forming the 
body of a letter it is called a variegated letter. 

A very pretty letter of this kind is made by using 
three different shades of the same color; for instance, 
divide the letter into three parts, fill in the upper part 
a bright green, the middle with a green a few shades 
darker, the lower part with darker still, or black. 

Or, the upper part vermillion, the middle Indian red 
lightened a little with vermillion, and the lower part 
black. These three shades may be worked in many 
fanciful forms beside the above. They must not be 
blended together, but each color must be dry enough 
not to rub up when the other is put on. 

These letters look best on a white or light ground, 
and require to be shaded. 

For shading black letters on a white ground any 
light tint of blue, green or buff color may be used. 
The most prevalent is a light lead or pearl gray. (See 
Compounding of Colors.) The depth of shade, and 
also whether on the right or left of the letter, is op- 
tional. One-fifth of the height of the letter is a fair 
proportion, but may be much heavier. There should 
be a space between the shade and letter in the propor- 
tion of one-quarter inch to a six inch, and one-half 
inch to a twelve inch letter. 

In a circular letter the shade should begin at a point 
one-twentieth of its height from the top, and extend 
around six-tenths of its entire circumference. In the 
other shades care should be taken to preserve a uni- 
form angle. 

A good effect is produced by introducing the line 
shade in connection with the ordinary shade; that is, 
a line following the entire inner edge of the shade at 
the distance from the letter already indicated. This 
line must be several shades darker than the shade 
tint. Or, if the shade tint is green, blue or pink, the 
line must be darker green, darker blue, and red. If 
lead, or pearl gray, the line must be a darker shade of 
the same color. 



THE SIGN PAINTFR'S GUIDE. 19 

When more showy and expensive work is wanted 
another line may be added, with the color modified to 
a degree between that of the first line and the shade 
tint. This makes a very beautiful shade, and is only 
excelled by the blended shade, of which we shall soon 
have occasion to speak. 

The width of the lines must be regulated by the 
size of the letter. For a twelve-inch letter about five- 
eighths of an inch; for a six-inch letter about three- 
eighths. 

For cut-in signs, or where the ground is darker than 
the letter, the shade must be four or five degrees darker 
than the ground. The line shade may be used here 
also with equally good eifect, the darkest, or black 
line, nearest the letter, and gradually lightening down 
to the shade tint, or first color. 

As black has no darker color, letters on black 
grounds are shaded with bright colors, either of one 
color, in lines, or with the blended shade. This is the 
most difficult to execute of all the shades, and consists 
of a combination of colors and tints worked in and 
blended together with most pleasing effect. 

The lighter and bright tints form the side shades, 
the deeper color the lower, or under shade. 

This shade difi'ers somewhat from the other shades 
we have described, in that it connects with the let- 
ter, no space being left between, as with the others. 

The prevailing colors for blended shades are green, 
blue, red and j^ellow. 

For green we begin at the extreme upper corner of 
the letter, with white, or a very pale tint of green, 
gradually deepening into an emerald green, and still 
deepening by mixture with chrome green until of that 
color. This is deep enough for the side shade. For 
the lower shade begin with light chrome green and 
finish with the deepest. 

The colors used are white, emerald green and two 
shades of chrome green. 



20 THE SIGN FAINTEK S GUIDE 

For blue begin with white, or very pale blue tint, 
deepening gradually to a sky blue, and three or four 
shades deeper still for side shade. For lower shade 
begin with sky blue, and work off with deep ultra- 
marine. 

Ultramarine and white are all the colors necessary 
for this shade. 

Eed, or Carmine Shade — For side begin with very 
light pink, made with carmine and white, increasing- 
its depth gradually with vermillion, and lightening 
the vermillion with carmine. For lower shade begin 
with vermillion and finish with carmine. 

Colors used are white, vermillion and carmine. 

Yellow Shade — Begin with white, blending and 
deepening with orange chrome until of that color. 
Darken slightly with raw sienna for side shade. For 
lower shade begin with a mixture of chrome yellow 
and raw sienna, finishing with burnt sienna. 

White, orange chrome, raw sienna and burnt sienna 
are the colors used. 

The thorough blending of the colors as you proceed 
is indispensibie. To facilitate this good boiled linseed 
oil alone should be used for mixing the colors. If too 
much drier is added they will set too quick to allow 
the requisite blending. 

The brushes used should be shorter haired than are 
required for lettering. There should be one for each 
tint, and two for blending purposes. 

We will have to speak further on this shade in con- 
nection with gold lettering. 

A very novel and attractive style of shading for 
large signs of one line is effected by lettering the sign 
twice — first with the shade tint, and afterward with 
the lettering color. The last letters must be two or 
three inches above the level of the first, and a corres- 
ponding distance to the right or left to give the 
proper effect. 

Another method is to letter with the shade tint on 



THE SIGN PAINTER'S GUIDE. 21 

an angle of sixty-three degrees, and afterward with 
the lettering color reversing the angle. 

COMPOUNDING OF COLORS. 

Light Gray is made by mixing white lead with lamp- 
black, using more or less of each material as you wish 
to obtain a lighter or darker shade. 

Buff is made from yelloAV ochre and white lead. 

Silver or Pearl Gray — Mix white lead, Prussian 
blue, and a very slight portion of black. 

Flaxen Gray is "obtained by a mixture of white 
lead iind Prussian blue, with a small addition of lake. 

Oak Ground Color — Three parts white lead, one 
part yellow ochre, tinged slightly with Venetian red. 
This makes a good imitation Gold Color, much used 
for lettering. It may be made much richer and 
brighter by substituting chrome yellow for ochre. 

Walnut Ground Color — Two-thirds white lead, one- 
third Venetian red, yellow ochre and burnt umber ; 
the proportion of the latter being determined by the 
desired tint. 

Orange Color — Vermilion and chrome yellow. 

Violet Color — Vermilion, mixed with Prussian blue 
and a small portion of white. 

Purple — Indian red mixed with violet color. 

Carnation — Lake and white. 

Another Gold Color — Massicot or Naples yellow, 
with a small quantity of realgar and a very little 
white, 

Olive Color may be obtained by black and blue, 
mixed with yellow. 

Lead Color — Prussian blue and white, with a very 
little black. 

Chestnut Color — Venetian red, yellow ochre and 
black. To make it lighter increase the quantity of 
yellow ochre. 

Flesh Color — Lake, white lead and vermillion. 



22 THE SIGN PAINTER'S GUIDE. 

Light Willow Green — White, mixed with verdigris 
or emerald green. 

Stone Color — White lead, yellow ochre, small quan- 
tities of Venetian red and black. 

Fawn Color — White lead, yellow ochre and vermil- 
ion. 

Chocolate Color — Lampblack and Spanish brown. 

Portland Stone Color — Umber, white lead and yel- 
low ochre. All these colors may be regulated by add- 
ing more or less of the light or dark ingredients. 

Pure boiled linseed oil is the best under all circum- 
stances for mixing colors for all the purposes of Sign 
Painting, except in cases of which we shall hereafter 
have to sj^eak, where flat or turpentine color must be 
used. 

Japan drier may be used with the oil, for drying 
purposes only, in such quantity as the necessity and 
urgency of the case demands. 

Where boiled oil can not be obtained, raw oil, with 
a larger proportion of drier, may be substituted, but 
is not so good. 

FLOCKING AND SMALTING. 

Flock and smalt are now very generally used for 
the ground-work of gilded and cut-in signs. 

Flock consists of the dressings of woolen cloths, in 
the form of a fine powder. It may be had in a variety 
of colors, some of which are very beautiful; the prin- 
cipal are blue, green, scarlet, crimson and black. 
With the exception of the black these colors all fade 
when long exposed to the sun ; they are, therefore, 
only used for inside work. 

They may be used in connection with all the cut- 
ting-in colors we have before described. When a sign 
is intended to be flocked the ground color must be 
mixed with boiled oil alone. If too much drier is 
added it is liable to dry too fast, and the flock will not 
stick. 



THE SIGN PAINTERS GUIDE. 23 

When the sign has been cut in and the ground filled 
up, and while the color is still wet, lay it down flat, 
with the face up, and with a fine sieve sift the flock 
upon it until it is entirely covered. It may then be 
turned partially over, to allow the surplus flock to fall 
off" and be gathered up. When dry the letters may 
be brushed ofl" lightly with a very soft brush or duster. 

When a shade is necessary it must be put on with 
black previous to flocking, and while the ground color 
is still wet, and it will show vcrj^ distinctly through 
the flock. In this way many fancy designs and orna- 
ments may be worked in on the body of the sign that 
will look very beautiful through the rich colored 
flocks. 

Letters on black flock grounds are seldom shaded ; 
when they are the blended shade is generally chosen. 
It must be allowed to dry thoroughly, so that the let- 
ter and shade may be cut in at the same time. 

It may be necessary to mention here that where 
fancy colored flocks are used, the color of the cutting- 
in color should match as nearly as possible the color 
of the flock. 

Smalts are more durable, and their colors, though 
not so bright or showy as those of flock, are more per- 
manent; they are, therefore, better adapted for outside 
signs. The principal colors are blue, green, vermil- 
ion, Indian red or brown, purple and black. (See 
receipt for making smalts.) 

The process of flocking and smalting are the same, 
with the exception of the dark shade. In flocking it 
is put on before the flock ; in smalting afterward, and 
when the smalt is dry, as the black is" not seen as dis- 
tinctly through the smalt as through the flock. 

COATING SIGN BOARDS. 

This is too important an item in connection with 
Sign Painting for us to overlook, and a few hints in 



24 THE SIGN PAlNTEirS GUIDE. 

regard to it will not be out of place here. Much time 
lost, and valuable work ruined, is the result of im- 
properly coated sign boards ; or, in other words, 
boards that have been prepared in a hurry, receiving 
in some cases two or three coats in a day. To this 
cause is attributable the blistering and peeling, and 
other defects which their surface exhibits when ex- 
posed a short time to the weather and the rays of the 
sun. In the first place we would say, always allow 
one coat to dry thoroughly before putting another 
on. This is the chief consideration. 

For painted signs, the board, when ready for letter- 
ing, should present a glossy surface. This is effected in 
the following manner: Before any paint is put on, the 
board should be well examined, and the knots and 
gum spots covered with shellac, to prevent their 
showing through. While this is drj^ing mix a little 
white lead with pure boiled oil, rather thin, and give 
it a coat. This should have at least twenty-four hours 
to dry. It may then be rubbed lightly with fine sand- 
paper, and the knots and uneven parts filled with 
white lead putty. In four hours it may receive the 
second coat, for which take lead as before and mix 
with three parts turpentine to one of boiled oil, to 
which a little dryer maybe added. This coat may be 
made something near the color it is intended to have 
the sign. It should now stand fifteen hours, when it 
will, after a slight rub with very fine sandpaj^er, be 
ready for the third and last coat. This may be of any 
color desired, and mixed with boiled oil, adding only 
a very little drier. This in twenty-four hours will be 
hard and dry, and will present the proper surface for 
lettering. 

For Grold Signs the surface should present a half or 
egg-shell gloss. To effect this follow the directions 
we have just given for the first and second coats. The 
third or last must be of lead, mixed one-third oil and 
two-thirds turpentine, with a small portion of drier. 



THE SIGN PAINTER'S GUIDE. 25 

It is customary in this case to make the last coat of a 
light lead color, in order that the chalk marks may be 
more readily seen. 

There is still another method of preparing a sign — 
one that is adopted when a varnished or polished 
surface is intended, and for which four or five coats is 
often necessarj^ to secure a proper degree of smooth- 
ness. Follow the rules already laid down for the first 
and second coats; for the third mix with three parts 
turpentine and one part hard drjing coach varnish ; 
a little more turpentine may be added for the fourth 
coat, while the tiftli should be a good heavy coat of 
color and varnish alone. When dry it should be rubbed 
down to an egg-shell gloss with ground pumice 
stone and water, on a piece of woolen cloth. It will 
then be ready for lettering or ornamenting, after 
which it should be well varnished with coach-body 
varnish. It is necessary to add that all colors used 
for lettering and ornamenting on grounds j^i'cpared in 
this manner, with the exception of gold size, should 
be mixed in the same way, that is, three parts turpen- 
tine to one part varnish and drier. 

SIZING AND GILDING. 

There are four varieties or shades of gold leaf, viz., 
light, medium, deep and extra deep. The former is 
used principally lor car and omnibus lettering and 
ornamenting, or wherever a large amount of scroll 
work is done, its lightness showing to better ad- 
vantage the brilliant transparent colors used in 
shading. 

For sign work the deep and extra deep only are 
used. There are many imitations of gold leaf, some 
of which are very good, but of no utility whatever in 
Sign Painting, as they turn black immediately on ex- 
posure. They are much used by japanners and other 
ornamenters, whose work requires to be heavily 
varnished. b 



26 THE SIGN P/v'INTERS GUIDE. 

We will now take a board prepared in the manner 
described for a gold sign, and proceed to lay it out, 
jDreparatory to sizing. For this we will use chalk, 
the leadish tint of the color enabling us to see the 
w^hite chalk marks very distinctly. Prepared chalk 
or crayon is the best, the common being apt to scratch 
the surface, which will show very plainly through the 
gold. After the letters or design has been made with 
chalk, the outlines should be retraced with a soft lead 
pencil, and the chalk marks erased. It will then be 
ready for sizing. 

Gold size is a preparation of fat oil, or boiled linseed 
oil that has become fat from heat andexposure ; w^ith 
this is ground very finely a little yellow ochre or 
chrome yellow. It is thinned to a proper consistency 
with Venus or fat turpentine, and a small quantity of 
liquid drier added. It is then applied with a brush, 
in the same manner as paint, to the letters or part 
intended to be gilt. In ten or twelve hours, on apply- 
ing the finger, it will be found to be dry, but having 
a slight tack or stickiness, without adhering to the 
finger in the least. This is sufficient to hold the gold 
leat, which may be now laid on. Good size should 
retain this tack for at least forty-eight hours. 

Where the letters or sized part is large enough to 
take a full leaf in width it may be laid on out of the 
book, in the following manner. Open the book of 
leaf, allowing the gold to remain on the right-hand 
side ; turn it over carefully between the thumb and 
forefinger of each hand, fiice forward, until it is ad- 
justed in its proper position on the letter, when the 
paper may be slightly pressed with the backs of the 
fingers of the right hand, leaving the gold in its place ; 
then open to the next leaf and proceed in the same 
manner, carefully fitting each leaf together, leaving 
no space between them uncovered ; after all is covered 
that will admic of full leaves being laid, for the re- 
mainder we will use the gilder's knife, tip and cushion. 



THE SIGN PAINTEK'S GUIDE. 27 

Some little practice will be found Dccessary to the 
skillful handling ot these articles. Wo will now 
empt}^ about a half a book upon the cushion, which is 
done by slightly blowing each leaf as you turn to it 
out of the book into the cushion. Now with the point 
of the knife carefully take one leaf from among the 
i-est, lay it on the front part of the cushion, getting it 
in such a position that a slight breath will open it to 
its full size, and spread it out flat; cut it across with 
the knife as often as is necessary to reduce it to the size 
required; draw the tip once or twice across your hair 
or over the surface of a tallow candle — a slight greasy 
moisture is necessary to cause the gold to adhere to 
it; now lift a piece of gold upon the points of the tip 
and lay it gently in its place on the sign or sized part, 
and proceed in this way until every opening is cov- 
ered ; then with a bunch of fine cotton wool pounce 
the gilded part lightlj^, and rub down until every edge 
and joint disappears, and until the gold has received 
quite a high polish. 

The letters may now be shaded with the blended 
shade, and when dry cut in and flocked or smalt ed 
black; or they may be cut in and flocked or smalted 
black without any shade; or they may be flocked or 
smalted in any color desired; or they may be cut in 
and shaded without flock or smalt, in all cases being 
guided by the rules already laid down. 

When a gold sign is to be finished with a varnished 
surface the process is somewhat different. We will 
illustrate it by taking a board already prepared with 
the varnish ground, and reduced to an egg-shell gloss, 
in the manner already described. It is now ready for 
laying out and sizing, previous to which it should be 
pounced lightly with a cloth, in which a little fine 
whiting has been tied up, to prevent any gold from 
adhering to the varnish. 

We will not use the oil size for this sign, but instead 
a size composed of four-fifths coach varnish and one- 



28 THE SIGN PAINTER'S GUIDE. 

fifth fut oil, into which, as before, a little yellow has 
been finely ground. We will use turpentine to reduce 
it to a paper consistency for the brush. 

Size the letters very carefully, keeping the edges 
and corners straight and square. When it has dried 
to the requisite tack,' gild and polish as before. It is 
now ready for shading, and the shade should in this 
case be brought into contact with the gold, in order 
to straighten any unevenness along the edge. The 
plain or line shade may be adopted, whichever is 
desired. The high lights are all that is necessary now 
to complete the letter ; that is, a fine yellow or straw- 
colored line on the edge oj^posite to tlie shade, which, 
besides adding very much to the appearance of the 
letter, is very useful in straightening up any uneven- 
ness along the edge. AVhen this is dry the surface of 
the sign should be wiped off with a damp spon'ge, to 
remove any whiting that may remain, after which it 
is ready for varnishing. 

SHADING GOLD DESIGNS, SCEOLLS, ETC. 

Gold devices and designs are so often introduced in 
Sign Painting that it is highly important to know 
what forms the best shade for such designs. As- 
phaltum varnish is more used foiv this purpose, per- 
haps, than anything else, and it seems to answer very 
well. It is nearer to the na'ural shade of gold than 
any other color known. Its chief recommendation, 
however, is that it can be used quick, drying in a few 
minutes. Coat after coat may be applied until the 
darkest shade is attained, and the work in a very 
short time completed. It is objected to as not being 
durable, but if well varnished it is quite as durable as 
any other color that is used for the same purpose. 

Another shading color for gold is made from raw 
and burnt sienna and lake, adding of each until the 
required shade is obtained. 



THE SIGN PAINTERS GUIDE. 29 

In car and omnibus painting transparent colors are 
often used with beautiful effect in shading gold orna- 
ments. The colors used for this purpose are verdigris 
green, ultramarine blue, carmine, scarlet, and crimson 
lake. 

In shading gold begin with the lightest shade ; 
reduce the asphaltum to the proper consistency by 
dipping the brush in turpentine and working it until 
of the" required tint. When this is dry lay on the 
next darker shade, and so on until the darkest shade 
is attained. In all cases this work should be var- 
nished well, or it wnll not bear exposure. 

GILDING ON GLASS. 

In no department of Sign Painting has so much pro- 
gress and improvement been made, or such a degree of 
perfection been attained, as this ; in no other has such a 
general interest been manifested ; and the demand for 
this beautiful work has grown to such an extent that 
it is essentially necessary, for successful competi- 
tion, that every painter should thoroughly under- 
stand it. Having devoted much of olir time to the 
study and practice of this class of work, we will pro- 
ceed to lay before our readers such facts and informa- 
tion relating to it as our own and the experience of 
other first-class workmen has suggested. 

We w^ould remark, in the first place, that the better 
the quality of the glass the better will be the appear- 
ance of tiie work. Although we can not always be 
choosers in this respect, yet whenever we can we will 
always, for gilding purposes, prefer the single or 
double French, the crystal, or English or French 
plate. These qualities are clearer and freer from im- 
perfections than any other. Pittsburg glass may 
sometimes be found tolerabl)' clear, but it generally 
imparts to the gold a bluish tint; it has also very 
often a smoky surface, which no amount of cleaning 



3) THE SIGN PAINTER'S GUIDE. 

Avill remove. This is also bigblv prejudicial to both 
gilding and coloring, destroyi"ng\hc etiect of both. 

Having selected our glass, we next proceed to clean 
and prepare it for gilding. For this purpose take 
equal parts nitric and acetic acid in the proportion of 
one ounce of each to a half pint of water. Go over 
the surface of the glass with this, allowing it to re- 
main a few moments, then clean the glass in the or- 
dinary way, using soft water and whiting. When the 
whiting is dry wipe it off clean, and polish well with 
chamois or buckskin. Especial care must be taken to 
remove everj^ particle of whiting from the surface. 

Our next step is to prepare a jDattern for our work. 
For this take a sheet of paper the size required, and 
draw upon it correctly the design intended for the 
glass. The lines in the drawing must be traced upon 
both sides of the paper, which ma}^ be done by using 
the magic tracing paper, or by holding the drawing 
against a window pane, and tracing the lines as they 
arc reflected through by the light. 

We will now adjust the pattern in its proper posi- 
tion on the front of the glass, securing it in its place 
WMth a little mucilage or paste at intervals around the 
margin. Wlien this is dry it may be set upon the easel, 
or in a fiat position, with the pattern on the underside. 
It will then be ready for gilding. 

Th© size must now be prepared, and for this it is 
necessary to have distilled, or filiered soft water. It 
is absolutely essential to good work that the water used 
shall be soft and pure. Take shred, or Eussian isin- 
glass, and to a pint of water add a piece about the 
size of the smallest finger nail. The water should be 
hot enough to thoroughly melt the isinglass, but must 
not be allowed to boil. 

The size may now be tested by spreading a little 
with the brush on a very clean piece of glass, and 
laying a part of a leaf of gold upon it. If this, when 
dry, will not allow of being rubbed quite hard with 



THE SIGN PAINTERS GUIDE. 81 

fine cotton wool without injury to the gold, the size 
is not strong enough, and more isinglass must be 
added. To tind out when it is too strong, take a 
pointed cedar or 2)ine stick, and with it draw a line 
through the gold. If the line is clean and well de- 
fined tlie size is right; if jagged, uneven, or rough, it 
is too strong, and more water must be added. The 
size must not be used too hot or too cold; a little less 
than luke warm will be found to work best. The best 
brush for laying size on glass is a flat camel hair var- 
nish brush not more than two inches wide. 

Having reduced our size to a proper consistency we 
proceed \o lay the leaf, being guided in this by the 
lines of the drawing seen through the glass. 

Before commencing empty half the contents of a 
book of gold upon the cushion ; with the knife, as be- 
fore, bring one leaf forward and spread it out; now 
wet a portion of the glass with the size, and lay on as 
large a piece of the gold as you can conveniently lilt 
with the tip ; wet the glass again and lay on the next 
piece, proceeding in the same manner until the design, 
or the part to be gilded, is entirely covered. It should 
then be allowed to dry thoroughly, after which it may 
be rubbed lightly with very fine cotton wool. The 
cracks and openings, and other imperfections, should 
now be patched, cutting the leaf lo the required size, 
and sizing and lading it on as before. In patching up 
the brush should be worked with very little size in it, 
or the gold is liable to be washed off. 

When the patching is completed, and it has again 
become dry, the loose gold may be wiped off with the 
cotton, and it is ready for washing. This may be 
done with the sizing brush, but a wider one of the 
same kind is better. Hold the glass perpendicular on 
its edge, dip the brush in the size, draw it quickly 
across the gold, repeating it until the Avhole surface 
has been washed. When dr^^ it may be burnished 
with the cotton wool. If the gold is not now suffi- 



32 THE SIGN PAINTERS GUIDE. 

ciently clear and brilliant the washing and burnisning 
process should be repeated until ii has become so; but 
the second washing will generally be found sufficient. 
The glass shoulci in all cases be set upon its edge to 
dry. 

The pattern may be removed from the glass previous 
to the washing and burnishing process. It should be 
cut away from the pasted parts, leaving them adher- 
ing to the glass in such a manner that it may at any 
time be easily replaced in its former position. 

The face of the design, or drawing, is now rubbed 
over with a little dry chrome yellow or whiting, very 
little being allowed to remain on the surface. It is 
now placed upon the back, or gilded side of the glass, 
in the precise position it occupied when on the other 
side. This will easily be accomplished by tlie aid of 
the pieces ot the pattern paper still adhering to the 
front of the glass, and which must fit exactly opposite 
to the parts Irom which they were separated. When 
secured in this position by a little paste as before, the 
next step will bo to trace carefully with a hard lead 
pencil all the outlines of the drawing, which will, by 
reason of the color that has been rubbed on the other 
side of the ])aper, be transferred to the surface of the 
gold, upon which, after removing the pattern, a very 
distinct impression will be found. 

It is now ready for the backing color, for which mix 
a little prepared lamp black with equal parts of japan 
and copal varnish, thinning with turpentine to a pro- 
per working consistency. With this and a fine sable 
or camel hair pencil trace the outlines of the design 
upon the gold, filling in the solid parts afterward with 
a large brush. 

After standing eight or ten hours th superfluous 
gold may be washed off, using for this purpose a very 
fine piece of sponge, or cotton w^ool, slightly wet. 
Great care must be exercised in order that the fine, 
or hair lines, may not be disturbed. When thoroughly 
clean it is ready for coloring and shading. 



THE SIGN PAINTEKS GUIDE. 33 

Asphaltum varnish mixed with a little of the pre- 
pared lamp black makes a yavy good and convenient 
backing tor gold where a quick job is desired. It is 
more liable, however, to be rubbed up in cleaning, and 
is not as durable. 

. When many copies of the same design is to be made 
it is necessary, in order to facilitate work, to have a 
pricked pattern, the lined pattern being used only as 
a guide in laying the gold. Alter this is done, with a 
pounce bag and the pricked pattern, any number of 
duplicates of the drawing may be transferred to the 
surface of the gold in a few moments, ready tor the 
backing up process. 

It is not necessary, in this case, to paste the pattern 
to the glass. It should be made large enough to fold 
a little under the glass on two sides, the weight of the 
glass retaining it in its proper position. 

When the style of shade has been decided on it 
should be laid out on the face of the glass with a 
French chalk or soapstone pencil, to be had for the 
])urpose. The mode of shading depends, in a great 
measure, upon the color it is intended to have for the 
body or ground work of the glass; for instance, if a 
blended shade and a blue, green, brown, or any dark 
background is desired, the background should be put 
on first, carefully cutting around and leaving the 
shade open. As soon as the ground is dry the 
blended shade may be put on, ditfering only in this 
respect from the blended shade before described, in 
that the colors are not seen on the side on which ihey 
are worked, but on the reverse side, making a thor- 
ough blending of each color essential to the beauty of 
the work. 

When either a plain or a line shade is desired it is 
put on previous to the background. 

Where a blended shade and no background is re- 
quired, a heavy line shade of black must first be laid 
out and painted outside of the blended shade. This, 

2b 



34 THE SIGN PAINTERS GUIDE. 

in the capacity of a double shade, adds much to the 
appearance of* the latter, and is of material assistance 
in the blending process. 

A method much adopted, and which, it is claimed 
secures greater durability foi- the work, is to outline 
the letters first with imitation gold color, and afterward 
gild. The line protects the gold during those seasons 
when the inside and outside temperature keeps the 
glass in a sweaty condition, and whinh would other- 
wise be apt to find its way under the surface of the 
gold to the ultimate destruction of the work. 

As good a job, however, can not be made in this 
way, the line being detrimental to the proper wash- 
ing and burnishing of the gold. And as all exposed 
work should, on completion, receive a coat of wearing 
body varnish, covering the edi^es securely, thus ren- 
dering them almost indestructible, the utility of the 
outlining process disappears entirely. 

The interior of gold letters on glass are capable of 
being richly colored and ornamented in a variety of 
ways. Openings of various forms and sizes corre- 
sponding with the shape of the letter are made, in 
some of them the gold merely forming an outline. 
These openings are first shaded, and then filled in 
with appropriate tints or colors. The most beautiful 
of all ornamentation of this kind being known as 

PEARL WOEK. 

This process consists in covering the openings in 
the interior of the letters, with a very thin shell of 
pearl, prepared for the purpose, in the following man- 
ner : Take a clean camel hair brush and a little very 
clear demar varnish and varnish the openings of two 
or three letters, running it a little over on the letter 
all around. On the top of the varnish proceed care- 
fully to lay the pearl, breaking it to the proper size 
and fitting it together as closely as possible until the 



TUE SIGN TALNTEK'S GUIDE. 85 

opening is covered; proceed in like manner with the 
and next, until all are covered. When the varnish is 
dry the pearl will be firmly attached to it. Now mix 
a little silver, or pearl gray color, and coat over the 
pearl covering all the openings. This completes the 
work. 

IMITATION PEARL. 

A good imitation of pearl for patent medicine, and 
othei' advertising signs where cheapness is the great 
desideratum, is made by using copper foil instead of 
pearl, in the following manner: Coat the openings in 
the letters with silver or pearl gray color mixed with 
demar varnish. It must be put on thin and transpar- 
ent. When this is dry take the copper foil and crum- 
ble it as much as possible between the fingers. Cut it 
to the size and lay over the letters, the white'side down. 
A little varnish may be used to make it adhere; but 
the back will secure it sufficiently in its place without 
anything else. Dead, or Etruscan gold, is often intro- 
duced in ornamenting the interiors of letters. This is 
effected by sizing the opening with varnish or oil size, 
and gilding according to that process. The varnish 
or oil imparts to it an appearance of dead, or unbur- 
nished gold. 

ETCHING AND SCEATCHINGf. 

Beautiful and elaborate figures and designs are 
wrought in gold in the following manner : Gild and 
bui'nish a sufficient portion of the glass to fulh^ cover 
the design. Transfer the ornament to the gold, using 
either the traced or pricked pattern. La}^ it upon a 
dark surface; with the point of a hard wood stick 
trace all the outlines through the gold; cut down the 
bristles of two small sized flat fitches to one-third of 
their usual length. One should be smaller than the 



36 THE SIGN PAINTFKS GUIDE. 

other. With these shade the drawiDg, brushing out 
the gold entirely where the drawing is black, and 
blending it oft' gradually into the lighter parts ; in 
short, make a correct and finished drawing upon the 
gold. The dark surface underneath will assist by 
giving it the apjoearance of a pencil drawing. When 
complete it may be backed up, and as soon as dry the 
surplus gold washed off". In doing this work it is 
necessary to have about four fitches, prepared as above, 
in size from one-fourth to one inch ; several hard 
and soft wood sticks of various sized points, round 
and square; a few scratching tools, or needles, tied to- 
gether for that purpose, from two to twelve forming a 
set. With these, and what is more indispensible, a 
good knowledge of drawing, any work of this kind 
may be easily accomplished. 

LAYING SILYEE LEAF. 

Silver leaf is now used to a very great extent^ for 
lettering and ornamenting on glass. It must be treated, 
in every respect as gold leaf. 

ENGEAYma AND OENAMENTING GLASS 
WITH ACID. 

Although this beautiful art cannot, strictly speaking, 
be considered a branch of the Sign Painting business, 
it is in many respects so nearly allied to it, that a 
a thorough knowledge of it cannot but be beneficial to 
every Sign Painter. 

It consists of cutting or engraving letters or other 
ornaments on plain, ground and colored glass, for use 
in churches, offices, doors, vestibules, lamps, &c., by a 
process which differs somewhat from the usual mode of 
grinding, by which the same work can be done at a 
much reduced price. 

There are two articles indispensible in this work : 



THE SIGN PAINTERS GUIDE 37 

fluoric (sometimes called hydrofluoric) acid, and the 
etching or protective varnish. Tlie former, on being 
applied, eats its way into the surface of the glass ; the 
hitter is used to confine the acid to the limits within 
which it is to act. 

Of colored glass, there are two kinds ; one is colored 
entirely through the glass, the other, only on one side. 
The latter only, is suitable for engraving purposes. 

To describe the process more fully, take a sheet of 
colored glass, of the size required for a lamp or trans- 
parency, make a pattern of your letters or design, 
prick it, and with the pounce bag transfer it upon 
the colored side of the glass; this can be told by 
holding the edge of the glass towards 3'ou, or by chip- 
ping ofl' a small splinter. The small white dots made 
by pouncing the pattern will show quite distinctly on 
the dark surface of the glass. 

Now cut in the letters carefully with the protective 
varnish, afterwards filling up with the same the entire 
groundw^ork of the glass. When this is dr}', take pitch, 
prepared for the purpose, or shoemakers' wax, and form 
a border or edge around the glass ; pour on the acid 
until the letters or parts upon which it is to act are 
entirely submerged ; let it remain until it has eaten 
through the colored surface into the clear glass, then 
pour off the acid and wash wellwith water. After re- 
moving the vai'nish the letters will be perfectl}' clear, 
while the balance of the glass, protected by the var- 
nish is of the original color. 

Letters, etc., ma}^ be formed on ground glass, in the 
same manner as on stained or colored, the letters being 
cut in and the rest of the surface being filled up with 
the varnish as before ; the acid will dissolve the ground 
surface, leaving it perfectly transparent, so that when 
the varnish is removed the letters are quite clear, 
while the rest of the surface is ground. 

The following method for grinding glass will be 
found useful. After you have cut or engraved a name 



38 THE SIGN PAINTER'S GUIDE. 

or other design upon uncolored glass and wish it to 
show off to better advantage by permitting the light to 
pass 011I3" through the letters, j'ou can do so by taking 
a piece of flat brass sufficiently large not to dip into 
the letters, but pass over them when gliding upon the 
surface of the glass; then with flour of emery, and 
keeping it wet, you can grind the whole surface very 
quickly, the letters having been eaten below the gen- 
eral surface, remaining perfectlj^ clear. 

Wiiere a large quantity of glass is to be ornamented 
with the same design, stencil plates are used, by 
which the varnish is applied on those parts of the 
glass to be protected against the action of the acid. 
In this manner the large ornamental glass plates often 
used in offices, doors, <!fcc., are produced at a moderate 
price, which would be impossible if the figures were 
all drawn in detail by band labor. 



ETCHING ON GLASS. 

Druggist's bottles, bar tumblers, signs, and glass 
ware of every description can be lettered in beautiful 
style of art by simply giving the article to be engraved 
or etched a thin coat of etching varnish, and the ap- 
plication of fluoric acid. Before doing so, the glass 
must be thoroughly cleaned, and heated so that it can 
hardly be held. The varnish is then to be applied 
lightly over, and made smooth by dabbing it with a 
small ball of silk, filled with cotton. When dry and 
even, the lines may be traced on it by a sharp steel 
instrument cutting clear through the varnish to the 
glass. The varnish must be removed clean from each 
letter, otherwise it will be an imperfect job. When 
all is ready pour on or apply with a feather the fluoric 
acid, filling each letter. Let it remain until it etchess 
to the required depth, then wash off the water and re- 
move the varnish. 



THE SIGX PAINTEES GUIDE. 3 

FLUORIC ACID FOR ETCHING AND ENGRAVING ON 
GLASS. 

. You can make jour own fluoric acid by getting the 
fluor or Derb3'slnre spar, pulverizing it, and putting 
all of it into sulphuric acid, which the acid will cut or 
dissolve. Inasmuch as fluoric acid is destructive to 
glass, it cannot be kept in common bottles, but must 
be kept in lead or gutta-percha bottles. 

The protective varnish is made of equal parts of 
parafine or virgin wax and asphaltum ; mix hot and 
thin with turpentine. 

ETCHING VARNISH. 

Take of virgin wax and gum asphaltum each 2 oz ; 
of black pitch and Burgundy pitch each -^ oz ; melt 
the wax and pitch in a new earthenvvare, glaced pot, 
and add to them, by degrees, the asphaltum, finely 
powdered. Lc^t the whole boil, simmering gradually, 
till such time, as on taking a drop upon a plate it will 
break, when it is cold, on bending it double two or 
three times betwixt the fingers. The varnish being 
then boiled enough, must be taken off the fire, and, 
after it cools a little, must be poured into warm water, 
that it mny work the more easily with the hands, so 
as to be formed into balls, which must be kneaded and 
put into a piece of tafl'ety for use. 

PAINTING AND GILDING ON SILK. 

Having with the pounce bag and a pricked pattern 
transferred the lettering or design upen the silk, go 
over them first with a coat of japan varnish, (this will 
not spread on the silk,) and a clean, sharp edge can be 
made with it; upon this, when dry, work your colors. 

For gold letters, size upon the japan surface with 



40 THE SIGN PAINTEK'S GUIDE. 

oil size, use the tip and cushion for laying the gold and 
rub the letters smooth with fine cotton wool. Shade 
witli japan varnish first, following with the shading 
color as before; high lights must be added to complete 
the letter. 

JAPAN TIN SIGNS. 

These are a very neat and popular style of sign, but 
there are some difficulties attending a proper execu- 
tion of them, that every painter may not be prepared 
to remed}'. 

Owing to imperfect baking, the japan on some tins 
is softer than others ; this is more commonly the case 
wMth colored tins, making it difiicult to accomplish a 
sharp, clean job, which is essential in work of this 
kind. 

The following method will be found to work well. 
After cleaning your tin w^ell with soft cotton, lay on 
your pattern and pounce it, or if only one sign is to be 
done, this mode may be too tedious; lay it off* with 
chalk crayon, dust it off" with a badger or camel-hair 
blender, a'^nd it will be ready for sizing. 

For Size, mix 2 ounces coach body varnish and 2 
ounces of medium or hard drying varnish, adding J 
ounce of fat oil, into which sufficient yellow has been 
ground to give it a body; use oil ol turpentine to 
reduce to a proper w^orking consistency. 

This will, be ready to gild in from ten to twelve 
hours; use the tip and cushion in laying the leaf Avoid 
touching with the finger. 

After gilding, rub with cotton ; the chalk marks will 
disappear and the tin will be quite clean. 

SOLUTION FOR SILVERING GLASS. 

Prepare a mixture of 3 grs. of ammonia, 60 grs. ni- 
trate of silver, 90 minims of water; when the nitrate 



THE SIGN PAINTER'S GUIDE. 41 

of silver is dissolved, filter the liquid, and add 15 grs. 
sugar, dissolved in H oz. of water and 1-^ oz. spirits of 
wine. Coat all of the glass, with the exception of the 
part that is to be silvered with varnish ; place it in the 
mixture, and let it remain a few days. It will be mosL 
beautifully silvered ; yet this method is far too expens- 
ive for ordinary work. 

Another method of gilding on glass is by forming 
an amalgam of gold as follows : Throw into mercury 
as much gold leaf or foil as it will dissolve, stirring 
the amalgam after each addition. This must be pre- 
served in a vial for future use. 

The glass must be thorough h^ cleaned and polished 
as usual, and then the amalgam is smeared over the 
part intended to be gilded. 

The mercury is iinall}^ driven off by the application 
of heat, and the gold is left on the surface. The opera- 
tion may be repeated again if the first coating is not 
sufficiently thick. 

GLASS AND POECELAm GILDING. 

Dissolve in boiled linseed oil an equal weight either 
of copal or amber; add as much oil of turpentine as 
will enable you to apply the compound or size thus 
formed, as thin as possible to the parts of the glass 
intended to be gilded. 

The glass is to be placed in a stove till it will almost 
burn the fingers wiien handled ; at this temperature, 
the size becomes adhesive, and gold leaf applied the 
usual way will immediately stick. Sweep off the su- 
perfluous portions of the leaf, and when cold it may 
be buriiished, taking care to interpose apiece of India 
paper between the gold and the burnisher. 



42 THE SIGN PAINTERS GUIDE. 



ANOTHER METHOD OF GILDING CHINA AND 
GLASS. 

Powdered gold, is mixed with borax and gnra water, 
and the solution applied with a eamel-hair pencil. 
Heat is then applied until the borax fuses, when tLe 
gold is fixed and may be burnished. 

ENAMEL NUMBEES. 

A beautiful enamel number, for hotels, dwellings, 
steamboats, church -pews, &c., is made by taking a 
large sized common watch crystal (they can be had by 
the quantit}^ very cheap), painting or gilding a num- 
ber upon the hollow side, and coating over with white, 
blue, or any color desired ; it is afterwards filled up 
level with plaster of Paris ; the plaster itself forms a 
beautiful white back-ground. They are easily fast- 
ened to an}^ surface with a cement made of white lead 
and Japan varnish or drier, mixed quite thick. 

ENAMELED GLASS. 

A very good imitation of figured or enameled glass 
is made by the following method : 

Take French zinc white, dry, and grind very fine 
with clear soft water; dissolve gum Arabic in water 
and put sufficient in the white to prevent it rubbing 
off when applied to the glass; thin it as much as nec- 
essary with water. Clean your glass well, and with 
a wide camel-hair varnish brush give it a coat of the 
white, blending it out even and smooth, while Avet, 
with a badger-hair blender. 

A stencil pattern must now be cut of the figure or de- 
sign intended; for this use thick pattern paper, which 
has previously been well oiled with boiled linseed oil. 
This, Avhen dry, makes the paper tough. Lay the sten- 



THE SIGN PAINTER S GUIDE. 43 

cil upon the white surface, and with a new scrubbing 
brush, brush out all the openings, leaving the figure 
or ornament clear and perfect upon the glass. 

A coat of demar vnrnish completes the process, and 
renders the imitation perfect. When the glass is to be 
totally obscured, give the opposite side a coat of the 
white and also of the varnish. 

WINDOW SHADE PAINTING. 

Glue your muslin to the frame or stretcher ; let it 
stand until dry, then open out as wide as it will allow 
and give a coat of glue size. Stretch while wet as 
tight as possible. 

When the size is dry, coat with any color desired, 
both sides, mixing your color with benzine and Japan ; 
when this is dry it is ready for the border and letter- 
ing; use varnish size, and gild with Florence leaf. Go 
over it afterwards with gold laquer; it may then be 
cut from the frame and trimmed, 

MAKING SIGN BOAEDS, &c. 

The best and most durable sign boards are made of 
white pine wood which has been perfectly seasoned. 
Poplar or white wood makes a smooth, nice surface to 
work upon, but will warp and twist on exposure to 
the weather. For signs at a distance from the ground 
canvas is sometimes substituted. It looks equall}^ as 
well, and if well painted on both sides, will last a long 
time. 

Sheet zinc is also used in imitation of board signs. 
It is much lighter, and dispenses with joints, which in 
boards are always liable to open. When more than 
one sheet is necessarj^-, the edges can be butted to- 
gether and soldered on the back, showing a perfectly 
smooth surface in front. 

Zinc is also extensively used for circular corner 



44 THE SIGN PAINTERS GUIDE. 

signs, and for window sills, &c. A wooden frame is 
first made and fitted neatly to the place, and the zinc 
nailed to it previous to being painted. 

Canvas or flag signs should be made of medium or 
light duck, and well bound with rope. Without this, 
the action of the weather will soon reduce them to rib- 
bons. If openings are cut to admit the wind, they must 
also be well bound with canvas. Iron rings must be 
used for eyelets. They should be wired to the pole 
with coj)per wire. 

SHOW CAED WEITING. 

This has of late become quite an important business, 
and is often carried on in connection with Sign Paint- 
ing. The mode of writing is, however, ver}^ diff'erent. 
A skillful card writer will astonish most sign painters 
with the rapidity of his movements ; but neatness or 
precision is not always characteristic of their work. 
This is attributable, however, in a great degree, to 
their cheapness, and to the fact that they are gener- 
ally intended to answer only a temporary purpose. 

Show cards are of two classes — the plain or white 
and the colored. 

On the former, the color of the letters are generally 
black; they are outlined with a solution of India ink 
and water, strong enough to leave a jet black mark. 
After outlining, they are filled in with turpentine- 
asphaltum varnish, which dries in a few minutes, and 
forms a beautiful black, glossy surface. The card se- 
lected for this purpose should have an enamel surface. 
When the letters are completed, with an ordinary pen, 
dipped in India ink, draw a line around the card, 
about one inch from the edge. This gives it a finished 
appearance i»nd adds much to its attractiveness. 

Colored cards afford a much larger scope for a dis- 
play of taste than the plain. They can be had of al- 
most every hue, and where a little judgment is exer- 



THE SIGN PAINTEKS GUIDE. 45 

cised in the arrangement of the letters, colors, etc., they 
unquestionably form a very attractive sign. Tiiey are 
generally lettered with white. 

For this purpose, take the best dry French zinc, 
grind well on a slab or in a mill, with justsufficient 
water to saturate it. After this is done, dissolve gum 
Arabic in water, and add to the white enough of the 
solution to prevent its rubbing oif after being applied 
to the card. It will have to be tested until a proper 
consistency is arrived at. If it is too weak, it Avill 
rub off; if too strong, it will be liable to crack and 
chip off. 

With this white, the letters are outlined, and when 
dry, filled in. It is necessary, in order to have a 
smooth, even surface, to flow as much of the white as 
will remain on the letter, leaving the card in a flat po- 
sition until dry. 

The colors used for shading are vermilion, Venetian 
red chrome green, ultramarine blue, chrome yellow, 
yellow ochre, burnt umber and burnt sienna ; all of 
which must be dry, and treated in the same manner as 
the white. To lighten them to any required shade 
they must be mixed with the white. 

It were useless to attempt to confine the writer to 
any one or half-dozen styles of shades, where such a 
free field for variety is offered. It is sufficient to say 
that every style of shade of which we have yet had 
occasion to speak, may be here reproduced, and fiincy 
may have full scope. 

In the colored cards, the marginal line must })c made 
in white, which should be of such a consistency as to 
flow freely from the pen. 

As cards have, in numerous instances, to be mounted 
on frames or stretchers, we will describe the jorocess 
for the benefit of those of our readers who may have 
such work to do. 

Lay the stretcher on the card — which should be a 
little the largest — with a wet sponge dampen the sur- 



46 THE SIGN PAINTER'S GUIDE. 

face, of the card inside the stretcher ; have the glue hot; 
with a brush spread it quickly, but carefully, on the 
frame covering about an inch of the surface close to 
the edge all round ; then carefully lay the glued side 
down on the card, press lightl}' on it, and turn the 
card uppermost, and with a clean cloth rub the edge 
of the card down close to the frame; place it between 
two fiat surfaces, under weights, for a short time. 
When dry, it will be tight as a drum. The surplus 
edges of the card may then be trimmed off, and it is 
ready for lettering. 

LETTEKIXG OX MUSLIM, TRANSPAEEIS-CIES, 

Etc. 

Much trouble is often caused, in this class of work 
by the oil or color spreading on ail sides of the letter, 
giving it a blotted and blurred appearance. Wetting 
the muslin with water is generally resorted to to ob- 
viate the difficulty. 

By mixing the color entirely with benzine and ben- 
zine Japan the wetting process may be dispensed with, 
and a smooth clean job can be made. 

PAPER PATTERNS. 

The heavy brown pattern paper is best for making 
pricked patterns. In case a pattern should be worn 
out or lost, it will be found convenient to have a du- 
plicate. This may be made by pricking through two 
sheets at the same time. A pentagraph wheel will be 
of great assistance in making these patterns. 

POUNCE BALL OR BAG 

Is made b}^ tying a quantity of dry white lead or 
Spanish whiting in two thicknesses of fine muslin. 
It is used to transfer letters, designs, &c., by means of 



THE SIGN PAINTERS GUIDE. 47 

pricked patterns, to signs and other sui'faces, prepara- 
tory to painting or gilding. The punctured parts arc 
dusted over with the bag, and on removing the paper, 
the dcsiixn will be distinctly seen in small white dots 
upon the surface. 

A dark pounce bag, for transferring to light surfaces, 
nia}' be made by using dry Indian or Venetian red, in 
placo of whiting. 

mSUEANCE SIGNS. 

Sizing, by stencil patterns, will greatly facilitate 
work. When a large number of gold signs of the same 
patterns are to be made, as is often the case with in- 
surance work, heavy paper stencils are generally used. 

WHITE LEAD PUTTY 

Is the best for filling sign boards, and for every de- 
scription of sign work. The ordinary thick white lead 
in oil Avill answer, with a little Japan added, and 
worked to a proper consistency with whiting. 

MAGIC TRACING PAPER 

This is made by mixing lamp black, or any other 
color, with sweet oil, and apj^lying it with a brush or 
sponge to both sides of printers' book paper, after- 
wards rubbing well with a soft rag until no more color 
will come out. 

By laying a sheet of this paper between a clean 
sheet and the design or drawing, and tracing the latter 
with a pointed stick or pencil, a distinct copy will be 
found on the lower sheet. It is valuable to sign paint- 
ers for for transferring purposes. 



48 THE SIGN PAINTER'S GUIDE. 



TEANSPAEENT TEACmG PAPEE 

For copying designs, drawings, &c., is made by mix- 
ing together at a gentle heat, one oz. of Canada balsam 
and a quarter pint spirits of turpentine ; with a soft 
brush, sjDread it thinly over one side of good tissue 
paper. It dries quickly, is very transparent^ and is 
not greasy, therefore does not stain the object upon 
which it may be placed. 

PEEPAEED LAMP BLACK. 

Ordinary lamp black, before being used for sign or 
ornamental purposes, should be placed in a flat, sheet- 
iron pan, and held over a hot fire until it ceases to 
smoke. By this method, it is divested of its greasy, 
non-drying qualities, and will then answer all the pur- 
poses of a vegetable black. 

SAYING WASTE GOLD LEAF. 

In the process of glass gilding, about two-thirds is 
superfluous or waste gold; this may be recovered by 
saving the cotton with which the glass has been cleaned. 
AVhen a quantity is collected it may be burned in a 
crucible, and the gold recovered by means of lead ; or 
the gojd-beater will take the cotton and allow full value 
for the button obtained. 

EEMOVmG FLOCK AND SMALT FEOM OLD 
SIGN BOAEDS. 

Flock may generally be removed by the use of a 
steel scraper and coarse sand -paper. 

Smalt often becomes so hard as to resist all efforts 
of this kind. A strong solution of concentrated lye 
should be made, and applied to the surface of the 



THE SIGN PAINTER'S GUIDE. 49 

board, repeatinij^ the application until it can be easily 
scraped oft*. The board should then be well washed 
with water, going over it afterwards, and previous to 
painting with strong vinegar. This neutralizes the 
alkali and prevents any injurious results to the paint. 

LETTEEING TKAN«PAEENCIES. 

Stretch the muslin as tightly as possible upon the 
frame; with a brush give a coat of ordinary starch, of 
the consistency^ used for laundry purposes. When this 
is drj^, the cloth will be quite tight, and will be found 
very easy to letter upon. 

SMALTS. 

Smalts of various colors are made of fine lake sand, 
which must be free of dirt and well dried. 

Mix the color, or paint for coloring purposes, with 
equal j^arts of oil and turpentine, adding a little Japan ; 
mix this with as much of the sand as it will color, rub- 
bing it beween the hands until quite loose and dry, 
then spread in the sun, or in a warm place, breaking 
up the lumps occtisionally, and sifting as fast as dry 
through a tine sieve. 

To every ten pounds of smalt add two ounces of 
frosting, which must be pounded fine and sifted into 
the smalt. After mixing thoroughly it is ready for use, 
and should be kept dry. 

FROSTING FOR SHO\y CARDS, SIGNS, Etc. 

Frosting is a thin, glassy subtance, of various colors, 
use by painters and writers of show cards for sprink- 
ling the surfaces of letters and giving them that beau- 
tiful crystalline appearance which is so much admired. 
It may also be used with beautiful effect for ground- 
works. It is first put into a cloth and pounded fine, 

c 



50 THE SIGN PAINTEK'S GUIDE. 

and then sifted upon the letters or surface while the 
paint is wet. 

It is also used to give brilliancy to smalts, mixing 
in the proportion of two ounces of frosting to every 
ten or fifteen pounds of smalt. 

TO PEEVENT COLOE CEAWLING. 

When a sign or other surface has been coated some- 
time previous to lettering it is frequently difficult to 
apply the lettering color, on account of a disposition 
to creep or crawl, as on a greasy surface, to the great 
annoyance of the letterer. This will be remedied by 
previously rubbing with a cloth dampened with ben- 
zine, alcohol or water. 

SILYEE LEAF. 

Silver leaf should be well varnished before being ex- 
posed to the weather. By applying a coat of gold lac- 
quer, it can scarcely be detected from gold. On flocked 
or smalted signs the lacquer and varnish must be a])- 
plied previous to cutting in. 

TUBE COLOES. 

Are the most convenient for ornamental glass work 
and all the finer branches of sign painting, but are too 
expensive for large surfaces or backgrounds. 

SHELLAC YAENISH OE KI^OTTING. 

This is used for killing knots and gum spots on new 
pine boards, previous to painting. It is made in the 
following manner : Best alcohol, 1 gallon ; nice gum 
shellac, 2| pounds. Place the jug or bottle in a situa- 
tion to ke'ep it just a little warm, and it will dissolve 
quicker than if hot, or left cold. When a very nice 



THE SIGN PAINTER S GUIDE. 61 

surface is required, the entire sign board may be coated 
with the varnish, adding for this purpose a little more 
alcohol. 

IMPEESSIONS FEOM. PRINTS. 

The print is soaked first in a solution of potash and 
then in one of tartartic aci.d. This produces a perfect 
solution of crystals in bi-tartarate of potash through 
the texture of the unprinted paper. As this salt re- 
pels the oil the ink roller may now be passed over the 
surface without transferring an^^ of its contents to the 
paper, except in those parts to which the ink had been 
originally applied. The ink of the print prevents the 
saline matter from penetrating wherever it is present, 
and wherever there is no saline matter present the ink 
adheres; so that many impressions may be taken as 
in lithography. 

MAPS AND CHAETS. 

Maps, charts or engravings may be effectually var- 
nished by running a very delicate coating of gutta- 
percha solution over their surface. It is perfectly trans- 
parent and will greatly improve the aj)pearance of the 
picture. 



52 THE SIGN PAINTEE'S GUIDE. 



MISCELLANEOUS RECEIPTS. 



Cobalt Smalt. — Eoast cobalt ore to drive off the ar- 
senic ; make the residuum into a paste with oil of 
vitriol, and heat it to redness for an hour ; powder dis- 
solve in water, and precipitate the oxide of iron by 
carbonate of potash, gradually added until a rose-color- 
ed powder begins to fall; then decant the clear, and 
precipitate by a solution of silicate of potash prepared 
by fusing together for five hours a mixture of 10 parts 
of potash, 15 parts of finely-ground flints, and 1 part 
charcoal. The precipitate, when dry, may be fused 
and powdered very fine. 

Glass Staining. — The following colors, after having 
been prepared, and rubbed upon a plate of ground- 
glass, with the spirit of turpentine or lavender, thick- 
ened in the air, are applied with a hair-pencil. Before 
using them, however, it is necessary to try them on 
small pieces of glass, and expose them to the fire, to 
ascertain if the desired tone of color is produced. The 
artist must be guided by these proof-pieces in using 
his colors. The glass, proper for receiving these pig- 
ments should be colorless, uniform, and difficult of 
fusion. A desi^cn must be drawn on paper, and placed 
beneath the plate of glass. The upper side of the 
glass, being sponged over with gum-water, aftbrds, 
when dry, a surface proper for receiving the colors 
without the risk of their running irregularly, as they 
would otherwise do on the slippery glass. The artist 
draws on the plate (usually in black), with a fine pen- 
cil, all the traces which mark the great outlines or 
shades of the figure. Afterwards, when it is dry, the 



THE SIGN PAINTER'S GUIDE. 53 

vitrifying colors are laid on by means of a larger hair 
pencil ; their selection being regulated by the burnt 
specimen-tints above mentioned. The following are 
all fast colors, which do not run, except the yellow, 
which must, therefore, be laid on the opposite side of 
the glass. The preparations being all laid on, the 
glass is ready for being fired in a muffle, in order to 
fix and bring out the proper colors. The muffle must 
be made of very refractory fire-clay, flat at its bottom, 
and only five or six inches high, with a strong arched 
roof, and close on all sides, to exclude smoke and 
flame. On the bottom, a smooth bed of sifted lime, 
freed from water, about half an inch thick, must be 
prepared for receiving the glass. Sometimes, several 
plates of glass are laid over each othsr, with a layer 
of lime powder between each. The tire is now lighted, 
and very gradually raised, lest the glass should be 
broken ; then keep it at a full heat for three or four 
hours, more or less, according to the indications of the 
trial slips; the yellow color being principally watched, 
it furnishing the best criterion of the state of the 
others. When all is right, let the fire die out, so as to 
anneal the glass. 

Stained- Glass Pigments. — I^o. 1. Flesh-color. — Red-lead, 
1 oz.; red-enamel (Venetian glass enamel, from alum 
and copperas calcined together;) grind them to a fine 
powder, and work this up with alcohol upon a hard 
stone. When slightly baked, this produces a fine flesh - 
color. :N"o. 2. Black Color. — Take 14J oz. of smithy 
scales of iron; mix them with two oz. white glass; 
antimony, 1 oz.; manganese, ^ oz.: pound and grind 
these ingredients together, with strong vinegar. No. 
3. Brown Color. — White glass or enamel, 1 oz,; good 
manganese, J oz.; grind together. No. 4. Red, Rose 
and Brown Colors are made from peroxide of iron, pre- 
pared by nitric acid. The flux consists of borax, sand, 
and minium, in small quantities. Red Color may like- 



54 THE SIGN PAINTER'S GUIDE. 

wise be obtained from. 1 oz. of red chalk, pounded, 
mixed with 2 oz. of white, hard enamel, and a little 
peroxide of copper. A Red may also be composed of 
rust of iron, glass of antimony, yellow glass of lead, 
such as is used by potters (or litharge), each in equal 
quantities ; to which a little sulphuret ot silver is added. 
This composition, well ground, produces a very fine 
red color on glass. No. 5. Green. — 2 oz. of brass, cal- 
cined into an oxide ; 2 oz. of minium, and 8 oz. white 
sand: reduce them to a fine powder, which is to be 
enclosed in a well-luted crucible, and heated strongly 
in an air-furnace for an hour. When the mixture is 
cold, grind it in a brass mortar. Green may, however, 
be advantageously produced, by a yellow on one side, 
and a blue on the other. Oxide of chrome has been 
also employed to stain glass green. No. 6. A Fine 
Yellow Stain. — Take fine silver, laminated thin, dissolve 
in nitric acid, dilute with abundance of water, and 
precipitate with solution of sea -salt ; mix this chloride 
of silver in a dry powder, with three times its weight 
of 2:)ipe-cla3^, well burnt and powdered. The back of 
the glass pane is to be painted with this powder : for, 
when painted on the face, it is apt to run into the 
colors. A Pale Yellow can be made by mixing sul- 
phuret of silver with glass of antimony and yellow 
ochre, previously calcined to a red-brown tint. Work 
all these powders together, and paint on the back of 
the glass. Or silver lamince, melted with sulphur, and 
glass of antimony, thrown into cold water, and after- 
wards ground to a powder, aiford a yellow. A Pale 
Yellow may be made with the powder resulting from 
brass, sulphur, and glass of antimony, calcined together 
in a crucible till they cease to smoke, and then mixed 
with a little burnt yellow-ochre. The Fine Yellow of 
M. Meraud is prepared from chloride of silver, oxide 
of zinc, and rust of iron. This mixture, simply 
ground, is applied on the glass. Orange Color. — Take 
1 part of silver-powder, as precipitated from the 



THE SIGN PAINTER'S GUIDE. ?)5 

nitrate of that metal, by plates of copper, and washed : 
mix with 1 part of red ochre, and' 1 of yellow, by 
careful trituration ; grind into a thin paste, with oil of 
turpentine or lavender; apply this with a brush and 
burn in. 

Porcelain Colons. — The following are some of the 
colors used in the celebrated porcelain manufactory of 
Sevres, and the proportions in which they are com- 
pounded. Though intended for porcelain painting, 
nearly all are applicable to painting on glass. Flux 
No. 1 minium or red lead, 3 parts ; white sand, washed, 
1 part. This mixture is melted, by which it is con- 
verted into a greenish-colored glass. Flux No. 2. 
Grai/ Flux. — Of No. 1, 8 parts; fused borax in powder, 
1 part. This mixture is melted. Flux No. 3. For Car- 
mines and Greens. — Melt together fused borax, 5 parts ; 
calcined flint, 3 parts; pure minium, 1 part. No. 1. 
Indigo Blue. — Oxide of cobalt, 1 part; flux No. 3, 2 
parts. Deep Azure Blue. — Oxide of cobalt, 1 part ; oxide 
of zinc, 2 parts ; flux No. 3, 5 parts. No. 2. Emerald 
Green. — Oxide of copper 1 part : antimonic acid, 10 
parts; flux No. 1, 30 parts. Pulverize together, and 
melt. No. 3. Grass Green. — Green oxide of chromium, 
1 part ; flux No, 3, 3 parts. Triturate and melt. No. 
4, Yellow. — Antimonic acid, 1 part; subsulphate of the 
peroxyde of iron, 8 parts; oxide of zinc, 4 parts; 
flux No. 1, 36 parts. Eub up together and melt. If 
this color is too deep, the salt of iron is diminished. 
^o. 5. Fixed Yellow, for touches. — No. 4, 1 part; ^vhite 
enamel of commerce, 2 parts. Melt and pour out ; if 
not sufficiently fixed, a little sand may beadded. No, 
^. Deep Nankin I't/Zoio.— Subsulphate of iron, 1 part; 
oxide of zinc, 2 parts ; flux No. 2, 8 parts. Triturate 
without melting. No. 7. Deep i?e<i.— Subsulphate of 
iron, calcined in a muffle until it becomes of a beauti- 
ful capucine red, 1 part; flux No. 2,3 parts; mix 
without melting. No. 8. Liver Brown. — Oxide of iron 



56 THE SIGN FAINTEK JS GUIDE. 

made oi a red brown, and mixed with three times its 
weight of flux jS^o. 2. A tenth of sienna earth is added 
to it, if it is not deep enough. No. 9. White. — The 
white enamel of commerce in cakes. No. 10. Beep 
Black. — Oxide of cobalt, 2 parts; copper, 2 parts ; ox- 
ide of manganese, 1 part; flux No. 1, G parts; fused 
borax ^ part. Melt and add oxide of manganese. 1 
part ; oxide of copper, 2 parts. Triturate without 
melting. 

The Application. — Follow the general directionsgiven 
in another part of this w^ork, in relation to staining 
ghiss. 

Soluhle Glass. — 1. Silica, 1 part ; carbonate of soda, 
2 parts ; fuse together. 2. Carbonate of soda (dry). 
54 parts ; dry carbonate ofpotassa, 70 parts ; silica, 192 
parts ; soluble in boiling water, yielding a fine trans- 
parent, semi-elastic varnish. 3. Carbonate of potassa 
(dry), 10 parts; powdered quartz (or sand free from 
iron or alumina), 15 parts; charcoal, 1 part; all fused 
together. Soluble in 5 or G times its weight of hoiling 
water. The filtered solution evaporated to dryness 
yields a transparent glass, permanent in the air. 

To Drill and Ornament Glass. — Glass can be easily 
drilled with a steel drill, hardened but not draw^n, and 
driven at a high velocity. Holes of any size, from the 
16th of an inch upw^ards, can be drilled, by using 
spirits of turpentine as a dip; and, easier still, by 
using camphor with the turpentine. Do not press the 
glass very hard against the drill. If you require to 
ornament glass by turning in a lathe, use a good mill 
file and the turpentime and camphor dip, and you will 
find it an easy matter to produce any shape you 
choose. 

To Male Door Plater. — Cut ;> our glass the right size, 
and make it perfectly" clean with alt ohol or soap ; then 



THE SIGN PAINTER'S GUIDE. 57 

cut a Btrip of tin -foil sufficiently long and wide for the 
name, and witli a piece of ivory or other burnisher 
rub it lengthwise to make it smooth ; now wet the 
glass w'ith the tongue (as saliva is the best sticking 
substance), or if the glass is very large, use a weak 
solution of gum arabic, or the white of an egg in half 
a pint of water, and lay on the foil, rubbing it down 
to the glass with a bit of cloth, then also with the bur- 
nisher ; the more it is burnished the better will it look; 
now mark the width on the foil which is to be the 
height of the letter, and put on a straight edge, and 
hold it firmly to the foil, and with a sharp knife cut 
the foil, and take off the superfluous edges; then either 
lay out the letters on the back of the foil (so they shall 
read correctly on the front) by your own judgment or 
by means of patern letters, which can be purchased 
for that purpose; cut with the knife, carefully holding 
down the pattern or straight edge, whichever you use; 
then rub down the edge of all the letters with the back 
of the knife, or edge of the burnisher, which prevents 
the black paint or jap'an which you next j^ut over the 
back of the plate, from getting under the foil; having 
put a line above and one below the name, or a border 
around the whole plate or not, as j'ou bargain for the 
job. The jaj^an is m.ade bj- dissolving asphaltum in 
just enough turpentine to cut it; apply with a brush, 
as other paint, over the back of the letters, and over 
the glass forming a back ground. This is used on the 
iron plate of the frame also, putting it on w hen the 
plate is a little hot ; and, as soon as it cools, it is dry. 
A little lamp-black maybe rubbed into it if you desire 
it any blacker than it is without it. 

To Transfer Prints, Etc. to Glass. — Take of gum 
sandarach, 4 oz ; mastic, 1 oz.; Yen ice turpentine, 1 
oz.; alcohol, 15 oz. Digest in a bottle, frequently shak- 
ing, and it is ready for use. Directions: use, if possi- 
ble, good plate glass of the size of the picture to be 

2c 



58 THE SIGN PAINTER'S GUIDE. 

transfered, go over it with the above varnish, begin- 
ing at one side, press down tlie picture firmly and 
evenly as yoii proceed, so that no air can possibly 
lodge between ; put aside, and let it dry perfectly, 
then moisten the paper cautiousl}^ with water, and 
remove it piece-meal by rubbing carefully with the 
fingers; if managed nicely, a complete transfer of the 
picture to the glass will be effected. 

To Make Paper into Parchment. — To produce this 
transformation, take unsized paper and plunge it into 
a solution of swo parts of concentrated sulphuric acid 
combined with 1 part water; withdraw it immediate- 
1}^, and wash it in clean water, and the change is com- 
plete. It is now fit for writing ; for the acid supplies 
the want of size, and it becomes so strong that a strip 
2 or 3 inches wide will bear from 60 to 80 lbs. weight, 
while a like strip of parchment will bear only about 
25 lbs. 

Gilding Glass Signs, Etc. — Cut a piece of thin paper 
to the size of your glass, draw out your design cor- 
rectly in black lead-pencil on paj^er, then prick through 
the outline of the letters with a fine needle, tie up a 
little dry white lead in a piece of rag ; this is a pounce- 
bag. Place your design upon the glass, right side up, 
dust it with the pounce-bag ; and, after taking the 
paper off, the design will appear in whiie dots upon the 
glass ; these will guide you in laying on the gold 
ou the opposite side, which must be well cleaned 
preparatory to laying on the gold. Preparing the Stze. 
Boil perfectly clean water in an enameled sauce-pan, 
and while boiling, add 2 or three shreds of best select- 
ed isinglass, after a few minutes strain it through a 
clean linen rag; when cool it is ready for use. Clean 
the Glass Perfectly/. — When this is done, use a flat cam- 
el's-hair brush for laying on the size; and let it drain 
off when you put the gold on. When the gold is laid 



THE SIGN PAINTER'S GUIDE. 59 

on and pej'fcctly dry, take a ball of the finest cotton 
wool and gently rub or polish the gold ; you can then 
lay on another coat of gold if desirable ; it is now- 
ready for writing. In doing this, mix a little of the 
best vegetable black with black japan ; thin with tur- 
pentine to a proper working consistency ; apply this, 
when thorough 1}^ dry; wash off the superfluous gold, 
and shade as in sign-writing. 

Gilders' Gold Size. — Drying or boiled linseed oil, 
thickened with yellow ochre, or calcined red ochre, 
and carefully reduced to the utmost smoothness by 
grinding. It is thined with oil of turpentine. 

To Gild Letters on Wood, Etc. — When your sign is 
prepared as smooth as possible, go over it with a siz- 
ing made by the white of an egg dissolved in about 
four times its weight of cold water; adding a small 
quantity of fuller's earth, this is to prevent the gold 
sticking to any part but the letters. When dry lay 
out the letter and commence writing, laying on the 
size as thinly as possible, with a sable pencil. Let it 
stand until you can barely feel a slight stickiness, then 
go to work with j-our gold-leaf, knife and cushion, and 
gild the letters. Take a leaf up on the point of your 
knife, after giving it a slight puff into the back part 
of your cushion, and spread it on the front part of the 
cushion as straight as possible, giving it another slight 
puff with your mouth to flatten it out. Now cut it 
into the proper size, cutt ing with the heel of your 
knife forwards. Now rub the tip lightly on your hair ; 
take up the gold on the point, and place it neatly on 
the letters: when they are all covered get some very 
fine cotton wool, and gently rub the gold until it is 
smooth snd bright. Then wash the sign with clean 
water to take off the egg size. 

French Burnished Gilding — EncoJlage, or Glue Coat. — 
To a decoction of wormwood and garlic in water, 



60 THE SIGN PAINTEK'S GUIDE. 

strained through a cloth, a little common salt and 
some vinegar are added. This is mixed with as much 
good glue, and the mixture spread in a hot state with 
a brush of boar's hair. When plaster or marble is 
gilded, leave out the salt. The first glue coating is 
made thinner than the second. 2. White preparation 
consists in covering the above surface with 8, 10 or 12 
coats of Spanish white, mixed up with strong size ; 
each well worked on with the brush. 3. Stop up the 
pores with thick whiting and glue, and smooth the 
surface with dog-skin. 4. Polish the surface with 
pumico stone and very cold water. 5. Retouch the 
whole in a skillful manner. 6. Cleanse with a damp 
linen rag, and then a soft sponge. 7. Rub with a 
horse's tail (shave grass) the parts to be j- el lowed, to 
make them softer. 8. Yelloiv with yellow ochre care- 
fully ground in water, and mixed with transparent 
colorless size. Use the thinner part of the mixture 
with a fine brush. 9. Next rub the work with shave- 
grass to remove any granular appearance. 10. Gold 
water size consists of Armenian bowl, 1 lb.; bloodstone 
[hematite], 2 oz.; and as much galena, each separate- 
ly ground in water. Then mix all together with a 
spoonful of olive oil. This is tempered with a white 
sheep skin glue, clear and well strained. Heat and 
apply three coats with a fine long-haired brush. Rub 
with a clean, dry, linen cloth, except the parts to be 
burnifshed, which are to receive other two coats of the 
gold size, tempered with glue. 12. The surface, 
damped with cold water (iced in summer), has then 
the gold-leaf applied to it. Gild the hollow ground 
before the more prominent parts; water being dex- 
terously applied by a soft brush, immediately behind 
the gold leaf, before laying it down ; removing any 
excess of water with a dry brush. 13. Burnish with 
bloodstone. 14. Next pass a tbin coat of glue, slight- 
ly warmed, over the parts that are not to be burnished. 
15. Next moisten any broken points with a brush, and 



THE SIGN PAINTER'S GUIDE. 61 

apply bits of gold leaf to them. 16. Apply the ver- 
meil coat very lightly over the gold-leaf with a soft 
brush. It gives lustre and fire to the gold, and is 
made as follows, annotto, 2 oz.; gamboge, 1 oz.; ver- 
milion 1 oz.; dragon's-blood, ^ oz.; salt of tartar, 2 
oz., saffron, 18 grs.; boil in 2 English pints of water, 
over a slow fire, till it is reduced to a fourth ; then 
pass the whole through silk or muslin sieve. 17. Next 
pass over the dead surfaces a second coat of deadening 
glue, hotter than the first. This finishes the work, 
and gives it strength. 



Gilding on ^yood. — To gild in oil, the wood, after be- 
ing properly smoothed, is covered with a coat of gold 
size, made of drying linseed oil mixed with yellow 
ochre; when this has become so dry as to adhere to 
the fingers without soiling them, the gold leaf is laid 
on with great care and dexterity, and pressed down 
with cotton wool ; places that have been missed are 
covered with small pieces of gold leaf, and when the 
whole is dry, the ragged bits are rubbed off" with the 
cotton. This is by far the easiest mode of gilding; 
Any other metallic leaves maybe applied in a similar 
manner. Pale leaf gold has a greenish yellow color, 
and is an alloy of gold with silver. Dutch gold leaf is 
only copper leaf colored with fumes of zinc ; being 
much cheaper than true gold leaf, it is very useful 
when large quantities of gilding is required in places 
where it can be defended from the weather, as it 
changes color if exposed to moisture ; and it should 
be covered with varnish. Silver leaf is Y^VGYinred every 
way the same as gold leaf; but when applied should 
be kept well covered with varnish, otherwise it is 
liable to tarnish ; a transparent yellow varnish will 
give it the appearance of gold. Whenever gold is 
fixed by means of linseed oil, it will bear washing off, 
which burnished gold will not. 



62 THE SIGN PAINTER'S GUIDE. 

True Gold Powder. — Put some gold leaf, with a little 
honey, or thick gum water made with gum-arabic, into 
an earthen mortar, and pound the mixture till the gold 
is reduced to very small particles ; then wash out the 
honey or gum repeatedly with warm water, and the 
gold in powder will be left behind. When dry, it is 
fit for use. 

Dutch Gold Powder is made from Dutch gold-leaf, 
which is sold in books at a very low ptice. Treat in 
the manner discribed above for true gold-powder. 
When this inferior powder is used, cover the gilding 
with a coat of clear varnish, otherwise it will soon lose 
its bright appearance. 

Magic Paper — Take lard oil or sweet oil, mixed to 
the consistency of cream, with either of the following 
paints, the color of which is desired: Prussian blue, 
lamp-black, Venetian red, or chrome green, either of 
which should be rubbed with a knife on a plate or 
stone until smooth. Use rather thin but firm paper ; 
put on with a sponge, and wipe off as dry as conven- 
ient ; then lay them between uncolored paper, or be- 
tween newspapers, and press by laying books or some 
other flat substances upon them until the surplus oil 
is absorbed, when it is ready for use. 

Flexible Paint for Canvas. — Tellow soap 2J lbs., boil- 
ing water 1 J gallons, dissolve ; grind the solution while 
hot with good oil painty IJ cwt. Use for canvas. 

Painter's Cream. — Pale nut oil 6 ozs., mastic 1 oz., 
dissolve ; add of sugar of lead J oz., previously ground 
in the least possible quantity of oil, then add of water 
q. s., gradually, until it acquires the consistency of 
cream, working it well all the time. Used to cover 
the unfinished work of painters. It will wash off with 
water. 



THE SIGN PAINTERS GUIDE. ' 63 

Gold Lacquer. — Put into a clean four-gallon tin one 
pound of ground turmeric, one and a half ounces of 
ganiboge, three and a half pounds of powdered gum 
sandarach, three-quarters of a pound of shellac, and 
two gallons of spirits of wine. When shaken, dis- 
solved, and strained, add one pint of turnpentine var- 
nish, well mixed. 

Gold Varnish. — Digest shellac, sixteen parts gum 
sandarach, mastic of each three parts; crocus, one 
part ; gum gamboge, two parts ; all bruised, with al- 
cohol, one hundred and forty-four parts. Or, digest 
seedlac, sandarach, mastic, of each eight parts ; gam- 
boge, two parts ; dragon's-blood one part ; white tur- 
pentine, six parts ; turmeric, four parts; bruised with 
alcohol, one hundred and twenty parts. 

Deep Gold Colored Lacquer. — Seedlac, three ounces ; 
turmeric, one ounce ; dragon's-blood, one-fourth ounce; 
alcohol, one pint; digest for a week, frequently shak- 
ing; decant and filter. 

To Silver Ivory. — Pound a small piece of nitrate of 
silver in a mortar, add soft water to it, mix them well 
together, and keep in a vial for use. When you wish 
to silver any article immerse it in this solution, let it 
remain till it turns of a deep yellow; then place it 
in clear water and expose it to the rays of the sun. If 
you wish to depicture a figure, name, or cypher, on 
your ivory, dip a caniel's-hair pencil in the solution, 
and draw the subject on the ivory. After it has 
turned a deep yellow, wash it well with water, and 
place it in the sunshine, occasionally wetting it with, 
pure water. In a short time it will turn of a deep 
black color, which, if well rubbed, will change to a 
brilliant silver. 

To Gild Ivory. — Immerse it in a solution of nitro- 
muriate of gold, and then expose it to hydrogen gas 
while damp. Wash it afterwards in clean water. 



64 • THE SIGN PAINTEK'S GUIDE. 

Varnish for Frames, Etc. — Lay the frames over with 
ti'i or silver foil by means of piaster of Paris, glue, or 
cement of some kind, that tlie foil may be perfectly 
adherent to the wood; then apply your gold lacquer 
varnish, which is made as follows : Ground tumeric, 
1 lb.; powdered gamboge, IJ ounces ; powdered san- 
darach, 3J lbs.; powdered shellac, f lb.; spirits of 
wine, 2 gals.; dissolve and strain ; then add turpentine 
varnish, 1 pint ; and it is ready for use. 

Reviver for Gilt Frames. — White of eggs, 2 oz ; 
chloride of potash or soda, 1 oz.; mix well, blow off 
the dust from the frames ; then go over them with a 
soft brush dipped in the mixture, and they will appear 
equal to new. 

Gilders' PicJde. — Alum and common salt, each 1 oz ; 
nitre 2 oz; dissolve in water J pint. Used to impart 
a rich yellow color to gold surfaces. It is best used 
largely diluted with water. 

To Mahe Letters or Flowers on Polished Steel. — Hold 
the steel over a charcoal fire till it becomes blue; 
let it cool. Then with equal parts of rosin and bees- 
wax, melted together, colored a little with lamp-black, 
and diluted with spirits of turpentine, so as to work 
freely with a camel's-hair pencil, draw any letters or 
figures on the steel, w^hile it is a little warm. When 
the steel has become cold, wash it over with muri- 
atic acid; diluted with two parts to one of acid; 
you thus take off the blue color, and then wash it with 
clear water. Afterward, the varnish, being warmed a 
little, may be readily washed off with spirits of tur- 
pentine, and the letters or flowers will remain blue. 

If letters are formed on polished steel with this var- 
nish, and the body of the metal be also covered with 
it, except a small space round the letters, and then 
bathed with muriatic acid, the space round the letters 
will become a dull iron color, while the letters and the 



THE SIGN PAINTERS GUIDE. 65 

body of the steel will retain their polished surface and 
brilliancy. 

To Silver Looking- Glasses. — Clean the glass plates by 
any of the methods adopted in gilding, as with alcohol 
and rotten -stone, and finally polish the surface with a 
buckskin buffer. 

Now lay upon this surface a sheet of pure tin foil, 
without flaw of any kind, and press out all the 
wrinkles so that it lies fiat and even. A quantity of 
mercury is now poured upon the surface so as to cover 
it completely and uniformly. Several folds of blot- 
ting paper are now placed upon the amalgam, and over 
these a board of the same size as the glass-plate is 
pressed into contact b}' means of weights on its upper 
surface. The pressure is maintained for some time. 
The excess of mercury is thus pressed out over the 
edges, and may be collected for the preparation of the 
next plate.' 

After the expiration of a number of days the pres- 
sure is removed, and the glass-plate is ready for use. 

To Wash Iron or Steel with Gold. — Mix together in a 
vial one part of nitric acid with two parts of muriatic 
acid, and add as much fine gold as the acid will dis- 
solve. For this purpose, gold -leaf is the most conve- 
nient, as it will be the most readily dissolved. (This 
solution is called the muriate of gold.) Pour over this 
solution, cautiousl}^ about half as much sulphuric 
ether — shake the mixture, and then allow it to settle. 
The ether will take the gold from the acid, and will 
separate itself from it also, and from an upper stratum 
in the vial. Carefully pour off this auriferous ether 
into another vial and cork it close. Wash any piece 
of steel or iron with this ether, and immediately 
plunge it in cold water, and it will have acquired a 
coat of pure gold. With this also any flowers or let- 
ters may be drawn or , written even with a pen, and 
will appear perfectly gilt. The steel or iron should 



66 THE SIGN PAINTEK'S GUIDE. 

afterward be heated as much as it will bear without 
chan^jing color, and if the steel be previously polished, 
the beauty of the gilding may be much increased by 
burnishing with a cornelian or blood-stone. 

How to Write on Glass in the Sun. — Dissolve chalk in 
acquafortis to the consistency of milk, and add to that 
a strong dissolution of silver. Keep this in a glass 
decanter well stopped. Then cut out from a paper 
the letters you would have appear, and paste the 
paper on the decanter or jar, which you are to place 
in the sun in such a manner that its niys may pass 
through the spaces cut out of the paper, and fall on 
the surface of the liquor. The part of the glass 
through which the rays pass will turn black, whilst 
that under the paper will remain white. Do not shake 
the bottle during the operation. Used for lettering 
jars. 

Jet or Polish for Wood or Leather, Black, Red, or 
Blue. — Alcohol [98 per cent.], 1 pint; sealing wax, the 
color desired, 3 sticks ; dissolve by heat, and have it 
warm when applied. A sponge is the best to apply it 
with. 

Japan Drier, Best Qua.litjj. — Take linseed oil one 
gallon ; put into it gum shellac, f lb.; litharge and 
burned Turkey' umber, each \ lb.; red lead J lb.; sugar 
of lead, 6 ounces. Boil in the oil till all are dissolved, 
which will require about four hours ; remove from the 
fire, and stir in spirits of turpentine 1 gallon, and it 
is done. 

Another — Linseed oil, 5 gallons ; add red lead and 
letharge, each 3| lbs.; raw umber, IJ lbs.; sugar of 
lead and sulphate of zinc, each \ lb.; pulverize all the 
articles together, and boil in the oil till dissolved ; 
when a little cool, thin with turpentine, 5 gallons. 



THE SIGN PAINTER'S GUIDE. 07 

Drying OH Equal to Patent Driers at one-quarter their 
Price. — Linseed oil, 2 gallons; red lead and umber, 
eacli, 4 oz ; sulpate of zinc, 2 oz.; sugar of lead, 2 oz. 
Boil until' it will scorch a feather, when it is ready for 
use. 

The Bronzing of Plaster Casts is effected by giving 
them a coat of oil or size varnish, and when this is 
nearl}" dry, applying with a dabber of cotton or 
camel-hair pencil any of the metallic bronze powders; 
or the powder may be placed in a little bag of muslin 
and dusted over the surface, and afterwards finished 
with a wad of linen. The surface mast be afterwards 
varnished. 

Polishes. 1. Carvers' Polish. — White resin, 2 oz; 
seedlac, 2 oz.; spirits of wine, 1 pt. Dissolve. It 
should be laid on warm. Avoid moisture and damp- 
ness when used. 2. French Polish. — Gum shellac, 1 oz.; 
gum arable, J oz.; gum copal, J oz. Powder and sift 
through a piece of muslin ; put them in a closely 
corked bottle with I pint of spirits of wine, in a very 
warm situation, shaking everj^ diiy till the gums are 
dissolved ; then strain through muslin and cork for 
use. 3. Polish for Dark Colored Woods. — Seedlac, 1 
oz. ; Gum guaiacum, 2 drs.; dragon's-blood, 2 drs.; 
gum mastic, 2 drs.; put in a bottle with 1 pint of 
spirits of wine, cork close, expose to moderate heat till 
gums are dissolved ; strain into a bottle for use, with 
J gill of linseed oil; shake together. 4. Water-proof 
Polish. — Gum benjam, 2 oz ; gum sandarach J oz ; 
gum anima, J oz ; spirits of wine, 1 pint. Mix in a 
closely stopped bottle, and place either in a sand bath 
or in hot water till the gums are dissolved, then strain 
off the mixture, shake it up with a J gill of the best 
clear poppy oil, and put it by for use. 5. Finishing 
Polish. — Gum shellac, 2 drs.; gum benjam, 2 drs.; put 
into ^ pint of best rectified spirits of wine in a bottle 



68 THE SIGN PAINTEKS GUIDE. 

closely corked, keep in a warm place, shaking fre- 
quently until the gums are dissolved. When cold, 
shake up with it two tea-s^DOonfuIs of the best clear 
poppy oil. 

Elastic Varnish. — Mastic, 1 lb.; white wax, 1 oz ; 
spirits turpentine, 1 gallon; reduce the gums small; 
then digest it with heat in a close vessel till dissolved. 

Fictitious Linseed Oil, — Fish or vegetable oil, 100 
gallons : acetate of lead, 7 lbs., letharge, 7 lbs.; dis- 
solve in vinegar, 2 gallons. Well mixed with heat, 
then add boiled oil, 7 gallons ; turpentine, 1 gallon. 
Again well mix. 

Glazier s Patty: — Whiting, 70 lbs.; boiled oil, water 
two gallons. 3Iix ; if too thin add more whiting; it 
too thick, add more oil. 

Varnishes. Common Oil Varnish. — Resin, 4 lbs.; bees- 
wax, ^ lb.; boiled oil, 1 gallon; mix with heat; then 
add spirits of turpentine, 2 quarts. 

Beautiful Pale Amber Varnish. — Amber, pale and 
transparent, 6 lbs.; fuse ; add hot clarified linseed oil, 
2 gallons ; boil till it strings strongly, cool a little, and 
add oil of turpentine 4 gals. This soon becomes very 
hard and is the most durable of oil varnishes. When 
wanted to dry quicker, drying oil may be substituted 
for linseed, or "driers" may be added during the 
cooling. 

Body Varnish — Finest African copal, 8 lbs.; fuse care- 
fully; add clarified oil, 2 gals.: boil gently for four 
and a-half hours, or until quite stringy; cool a little, 
and thin with oil of turpentine, 3^ gallons. Dries 
sloioly. 



THE SIGN PAINTEK'S GUIDE. 69 

Carriage Varnish. — Sandarach, 10 oz ; Pale shellac, 
9J oz; very pale transparent resin, 12J oz ; turpentine, 
18 oz ; 85 per cent, alcohol, 5 pts.: dissolve. Used for 
the internal parts of carriages, &c. Dries in ten 
minutes. 

Compound Iron Paint. — Finel}' pulverized iron filings, 
1 part; brick dust, 1 part; and ashes, 1 part. Pour 
over them glue water or size, set the whole near the 
fire, and, when warm, stir them well together. With 
this paint cover all the wood-work which may be in 
danger ; when dry, give a second coat, and the wood 
will be rendered incombustible. 

Be.<it Wash for Barns and Houses. — Water lime, 1 pk.; 
freshly slacked lime, 1 pk.; yellow ochre in powder, 
4 lbs.; burnt umber, 4 lbs. To be dissolved in hot 
water, and applied with a brush. 

Durable Outside Paint. — Take 2 parts [in bulk] of 
water lime, ground fine ; 1 part [in bulk] of white 
lead, in oil. Mix them thoroughly, by adding best 
boiled linseed oil, enough to prepare it to pass through 
a paint mill ; after which, temper with oil till it can 
be applied with a common paint-brush. Make any 
color to suit. It will last three times as long as lead 
paint. It is superior. 

Farmers Paint. — Farmers will find the following 
profitable for house or fence paint: Skim milk two 
quarts : fresh slacked lime, eight ounces ; linseed oil, 6 
ounces; white Bergundy pitch two ounces; Spanish 
white, three lbs. The lime is to be slacked in water 
exposed to the air, and then mixed with about one- 
fourth of the milk; the oil in which the pitch is dis- 
solved to be added a little at a time ; then the rest of 
the milk and afterwards the Spanish white. This is 
sufficient for twenty-seven yards, two coats. This is 



70 THE SIGN PAINTER'S GUIDE. 

for white paint. If desirable, any other color may be 
produced : thus, if a cream color is desired in place of 
part of the Spanish white, use the ochre alone. 

Premium Paint ivithovt Oil or Lead. — Slack stono- 
lime with boiling water in a tub or barrel to keep in 
the steam ; then pass six quarts through a fine sieve. 
Now to this quantity add one quart of coarse salt, and 
1 gallon of water ; boil the mixture and skim it clear. 
To everj^ 5 gallons of this skimmed mixture, add 1 lb. 
alum ; Jib, coperas ; and by slow degrees f lb. potash, 
and 4 quarts sifted ashes or fine sand ; add any color- 
ing desired. A more durable paint was never made. 

Green Pains for Garden Stands, Blinds, Etc. — Take 
mineral green, and white lead, ground in turpentine; 
mix up the quantity you wish with a smal quantity 
of turpentine varnish. This serves for the first coat. 
For the second, put as much varnish in your mixture 
as will produce a good gloss. If you desire a brighter 
green, add a little Prussian blue, which will improve 
the color. 

Milk Paint for Barns, any Color. — Mix water lime 
with skim-milk to a proper consistency to appl}^ with 
a brush, and it is ready for nse. It will adhere to 
wood, whether smooth or rough, to brick, mortar, or 
stone, Avhere oil has not been used [in which case it 
cleaves to some extent], and forms a very hard sub- 
stance, as durable as the best oil paint. It is too 
cheap to estimate, and any one can put it on who can 
use a brush. Any color may be given to it, by using 
colors of the tinge desired. If a red is preferred, mix 
Yenetian-red with milk, not using any lime. It look* 
well for fifteen years. 



GARDINER'S 



Jf^f^P^PJlff^ 



FOR THE USE OF 



SIGN PAINTERS AND LETTERERS. 



The Traceotypes are specially adapted to the use of Painters 
who are unable to do their own lettering, and those who wish to 
become Sign Painters. They consist of a series of Alphabets of 
the various styles of letters, Roman, Block, Egyptian, etc., in use 
by Sign Painters, with numbers to correspond, cut out of tough 
card board, very durable, and varying in size from two to twelve 
inches, and can be laid upon a sign board or any other surface, 
and traced around with a lead pencil, thus forming very quickly 
and correctly any word or name that may be desired. 

They will be furnished by the set or single Alphabet, at 50 cents 
for the two-inch or small size, and 20 cents on each additional 
inch in size up to twelve inches. 

A set of twelve Alphabets is sufficient for all ordinary sing_ 
painting purposes. Price of full set, $15.00. 

Forwarded to any address on receipt of price. 

Remit moneys by postoffice order in all cases where it is avail- 
able, otherwise by registerod letter. 

JAMES T. GAEDINER, 

Si^n Painter, 
383 Central Avenue, Cincinnati, 0. 



THE 



Sign Painters Guide, 



OR 



HINTS AND HELPS 



TO 



SIGN PAINTING, GLASS GILDING, PEARL WORK, ETC. 



CONTAINING ALSO 

MANY VALUABLE RECEIPTS AND METHODS, AND MUCH 

GENERAL INFORMATION IN THE VARIOUS 

BRANCHES OF THE BUSINESS. 



B Y 
JAMES T. GARDINER 

SIGN PAINTER. 



CINCINNATI:, 

PUBLISHED BY THE AUTHOR. 

18 7 1. 






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